With so much poetry in the lines, repeated refrains, and the dialogue, 9 Works Theatrical’s translation and stage adaptation of "Yemaya’s Belly" by Quiana Alegria Hudes, is not only an aural delight, but also a visual wonderland. Translated by Eljay Castro Deldoc, and now simply called "Yemaya," this drama about the immigration experience, about desperation and longing, is admittedly not a gambol in the sunshine; but expect to be fully rewarded when leaving the Proscenium Theater’s Black Box.

The play runs until July 5th, and it’s a testament to the universality of theater, that the 2003 debut of a Latin American playwright, can resonate with a Filipino audience in 2026.

Ed Lacson Jr. directs, and leading the cast are Tommy Alejandrino and Benedix Ramos as Jesus/Mulo, Sheena Belarmino and Ness Roque as Maya, Herbie Go as Tico, Sheenly Gener as Lila, the owner of a grocery, Anthony Falcon as Jelin, and Bituin Escalante as the titular Yemaya, and as Inay.

Yemaya, for those wondering, is a river deity, a water goddess, with roots of Yoruban mythology that can be traced to Nigeria. Thanks to the African diaspora, Yemaya appears in the Santeria creed, that’s found in Cuba. And so it’s about earning the blessing of Yemaya as one takes a journey across water.

Impressive are the stage and set design, how the props descend from the rafters, the atmospheric lighting, the simulation of a sea journey, and constant presence of sound effects. They all add to the atmosphere and ambiance of the setting.

We know the signages are in Spanish and we’re in a seaside town, with a slum area that most of our characters hail from. It’s from this ‘universe’ that Jesus introduces himself to us, and establishes himself as one who believes in magical realism, and more importantly, comes to believe in Coca-Cola and the American dream. This hope is realized in the form of sailing to the American coastline, as Jesus is impoverished.

There’s a powerful sequence that involves playing dominoes when two couples who are in different places, occupy the same space on the stage - like a two strand narrative that intersects and unifies, while still staying distinct. Does this work? The audience I was watching with seemed to think so, and were impressed with how this was executed.

Do we know this is a Cuban story? If I understand it correctly, it’s written to look like it could be any Latin American country, any island nation, where the people dream of emigrating to the USA - perceived as the land of milk and honey. That this yearning also exists among many Filipinos is a given; and that’s why it’s easy to identify and share in the narrative. It’s your proto-typical Third World dream, given more clarity because of the proximity of the Promised Land, a doable sea journey away.

Yemaya beckons.

And ultimately; it’s a drama about hope, about longing, and the price we often pay in holding on to these dreams. You may not leave the theater with a smile on your face, or whistling a tune; but you will be moved, and offered food for thought.