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| Peggy Gannon in Blood/Sucker (Brett Love) |
Blood/Sucker
World Premiere by Anamaria Guerzon
Washington Ensemble Theatre, www.washingtonensemble.org
12th Avenue Arts
Through September 21, 2026
High school horror! There are strange noises somewhere overhead. People begin changing. A careful, reasoned principal (Peggy Gannon) becomes extra-decisive – not in a good way. And then…. there is screaming.
Local playwright Anamaria Guerzon’s world premiere play, Blood/Sucker, is given a smart, savvy production by Washington Ensemble Theatre, cordially referred to a WET. They’ve wrapped a lot of complex ideas into a 90-ish minute show, and maybe it could use a tad simplifying, but more ideas are definitely better than fewer.
Three disaffected and emotionally damaged high schoolers unite in appreciation for one teacher’s Asian American History class. Rachel Guyer-Mifune, Monty Rozema, and William Eames conjure their inner youth, and then double as three adult school employees. We learn about their shitty home lives and why they are loyal to Mr. Galay and pay attention to his history class as meaningful, when most other classes turn them off.
Galay, played beautifully and empathetically by Mario Orallo-Molinaro, has a very modern approach to this history, showing how colonialism and political and psychological warfare from the CIA in the 1950s harmed Filipino desires for independence and autonomy. He tells them the CIA used their fears of mythical aswangs (shape-shifting monster who drink blood). Galay is also a teacher who really tries to connect with his students and make them feel cared for.
But his history class has given some in the community fits and the principal could cancel it, regardless of the fact that the year is halfway over. This change threatens Abby’s (Guyer-Mafune) path to graduate and there are real stakes to her future. Galay has a lot to do to manage the opposition to his class and keep her from going over the deep end.
Until the aswang actually shows up. They say in theater that if you put a gun on stage in the first act, you better use it before the play is over. And Guerzon certainly does.
Sophia Franzella directs and choreographs with panache, and the tight team of actors commit 110% to each of their characters. Jeremy Hollis creates a realistic multiple location set that works well to orient us to each separate room – the classroom, the principal’s office, and the staff lounge. Devon Alicea creates some creative props and Josh Valdez manages a variety of music and creepy sounds. Laurence Wulfe and Junfu Chen add quick change costuming and eerie lighting.
This is a strong, capable ensemble and Franzella’s direction helps them know exactly what to do. There are moments of intriguing choreo that hint at tense emotional states, and enhance the action. Everyone sinks their teeth into this show.
For more articles and reviews, go to www.facebook.com/SeattleTheaterWriters. Subscribe to your inbox at https://MiryamsTheaterMusings.blogspot.com
World Premiere by Anamaria Guerzon
Washington Ensemble Theatre, www.washingtonensemble.org
12th Avenue Arts
Through September 21, 2026
High school horror! There are strange noises somewhere overhead. People begin changing. A careful, reasoned principal (Peggy Gannon) becomes extra-decisive – not in a good way. And then…. there is screaming.
Local playwright Anamaria Guerzon’s world premiere play, Blood/Sucker, is given a smart, savvy production by Washington Ensemble Theatre, cordially referred to a WET. They’ve wrapped a lot of complex ideas into a 90-ish minute show, and maybe it could use a tad simplifying, but more ideas are definitely better than fewer.
Three disaffected and emotionally damaged high schoolers unite in appreciation for one teacher’s Asian American History class. Rachel Guyer-Mifune, Monty Rozema, and William Eames conjure their inner youth, and then double as three adult school employees. We learn about their shitty home lives and why they are loyal to Mr. Galay and pay attention to his history class as meaningful, when most other classes turn them off.
Galay, played beautifully and empathetically by Mario Orallo-Molinaro, has a very modern approach to this history, showing how colonialism and political and psychological warfare from the CIA in the 1950s harmed Filipino desires for independence and autonomy. He tells them the CIA used their fears of mythical aswangs (shape-shifting monster who drink blood). Galay is also a teacher who really tries to connect with his students and make them feel cared for.
But his history class has given some in the community fits and the principal could cancel it, regardless of the fact that the year is halfway over. This change threatens Abby’s (Guyer-Mafune) path to graduate and there are real stakes to her future. Galay has a lot to do to manage the opposition to his class and keep her from going over the deep end.
Until the aswang actually shows up. They say in theater that if you put a gun on stage in the first act, you better use it before the play is over. And Guerzon certainly does.
Sophia Franzella directs and choreographs with panache, and the tight team of actors commit 110% to each of their characters. Jeremy Hollis creates a realistic multiple location set that works well to orient us to each separate room – the classroom, the principal’s office, and the staff lounge. Devon Alicea creates some creative props and Josh Valdez manages a variety of music and creepy sounds. Laurence Wulfe and Junfu Chen add quick change costuming and eerie lighting.
This is a strong, capable ensemble and Franzella’s direction helps them know exactly what to do. There are moments of intriguing choreo that hint at tense emotional states, and enhance the action. Everyone sinks their teeth into this show.
For more articles and reviews, go to www.facebook.com/SeattleTheaterWriters. Subscribe to your inbox at https://MiryamsTheaterMusings.blogspot.com
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