Melvin Lee steps up to lead Peta with fresh vision
When Melvin Lee was nominated for president of the Philippine Educational Theater Association (Peta), the general assembly immediately closed the nominations. He won unopposed, securing 71 out of 77 votes.
Lee officially assumed the role in January, following the retirements of longtime Peta leaders, president Cecilia Garrucho, executive director Beng Cabangon, and artistic director Maribel Legarda. The new leadership marks a generational shift, with artistic director J-mee Katanyag, curriculum director Norberto Portales III, and Michelle Ngu-Nario and Anj Heruela as executive directors, now among the younger ones to hold top posts.
At 58, Lee is one of the company’s more senior members. He joined Peta in 1982 at age 16 as part of the Metropolitan Teen Theater League, the organization’s youth arm.
“What I bring to the table is that I came from the ranks,” Lee said. “I experienced everything—production, workshops, running departments. I’ve led both the production and the repertory company. I take responsibilities seriously.”
Still, he emphasized that leadership in Peta has always been collective. “General direction and key issues are handled by the group,” he said, noting that within the company, he is seen as the kuya—an older brother—known for being exacting, yet light-hearted.
Time to shine
This year, Lee said, the focus will be on internal consolidation: streamlining the organization, updating documentation, improving processes, and bringing good shows.
“It’s exciting,” he said. “The younger generation will be leading many of the upcoming projects. It’s their time to shine and show what they can contribute to the cultural scene.”
Peta is restaging “Walang Aray” with a twist: rainbow casting. In this version, which will run from Aug. 29 to Oct. 12, traditionally gendered roles such as Julia, the female lead, are open to trans actors. The inclusive approach challenges the notion that only women can play romantic roles in zarzuelas.
“The story is about love in all its forms—romantic, familial, and patriotic—so this casting reflects that broader message,” Lee said.
Lee noted that live theater is having a moment. “There’s been a surge in independent theater companies. Stage productions have become more prolific than films,” he said. “Audiences know most movies will end up streaming, so unless it’s a major franchise, there’s less urgency to see it in theaters. Theater offers a live, unfiltered experience you can’t replicate.”
Until the 1980s, Peta relied heavily on outside support. That shifted with the push for self-reliance, symbolized by the 2006 opening of the Peta Theater Center. Designed by National Artist Leandro Locsin, the venue gave Peta a permanent home after decades at the open-air Dulaang Rajah Sulayman, which was vulnerable to weather disruptions.
The Theater Center provided stability and strengthened the company’s image. Since then, Peta has sustained itself through performances and workshops, expanding into other revenue-generating ventures.
Peta Plus, which Lee heads, handles live productions, creative services, venue rentals, a talent bureau, and extension workshops. During the pandemic, Peta Plus managed video content for clients and revived the talent bureau to support displaced artists.
60th anniversary
As part of Pride Month, Lee is directing “Dalaga na si Maxie Oliveros,” a sequel to “Maxie the Musical,” the 2013 adaptation of the 2005 film “Ang Pagdadalaga ni Maximo Oliveros.” Produced by J+ Productions and line-produced by Peta Plus, the musical runs June 13 to 22 at Illumination Studio in Makati City.
“Maxie is now 18, a debutante, ready to explore the world of drag,” Lee said.
Looking ahead, Peta is preparing for its 60th anniversary celebration in fiscal year 2026–27. The milestone, Lee said, will reaffirm the company’s identity.
Peta is line-producing a musical version of the 1980s youth film “Bagets,” set to run from January to March 2026 at the Newport Performing Arts Theater. It is producing the stage adaptation of the cult comedy “Ang Babae sa Septic Tank” from June 19 to Aug. 30, 2026. Eugene Domingo will reprise her role.
“Our main goal is to remain the go-to company for educational theater—that’s our niche,” he said. “’Educational’ applies to everything we do, whether it’s an internal project or a collaboration. We ensure that theater serves a purpose, tied to advocacy or messaging.”
His masteral thesis “Kumprontasyon” consisted of three one-act plays challenging historical traumas. The nation is still striving to reach its full potential, he said. “But we must confront our past first.”
Lee views theater as more than entertainment. “It’s a platform for dialogue, especially on social issues,” he said. Peta maintains a tradition of post-show talkbacks with cast, creatives, and experts to help audiences engage with complex themes.
His local adaptation of Marsha Norman’s “‘Night, Mother’” tackled suicide. Lee invited audiences to reflect on unspoken family conversations. Post-show discussions included mental health professionals.
Lee has long used theater as a tool for social engagement. “Care Divas” was a hit musical about migrant workers in Israel, who were caregivers by day and drag performers by night. The production highlighted the dual lives of LGBTQ+ overseas Filipino workers. His portrayal of Chelsea—who dies in an airstrike—won him the Gawad Buhay! Award for Outstanding Male Lead Performance in a Musical.
At the time of the interview, Lee was en route to Palawan to direct the “Atin Ito Peace Concert“ at Sea, a historic event marking the first civilian-led voyage to assert the Philippines’ sovereign rights in the West Philippine Sea.
Fueling the joy
Peta’s educational mission extends into schools. Through Peta Plus, the group partnered with UK-based Collingwood on “Smashed,” a youth alcohol education program. Now in its fourth year, “Smashed” has been rolled out in public schools across Metro Manila, in partnership with local governments.
“We talk to Grades 9 to 12 students about avoiding alcohol early,” Lee said. “Each rollout includes an immersive performance and a talkback. We’re not just performing—we’re supporting education.”
Even in projects such as “Maxie,” produced externally, Peta is brought in for its expertise. “That includes an educational process—developing material, collaborating with artists, and staging the production. Theater should always offer something to learn.”
Asked how he stays cheerful despite the challenges of dual careers, Lee got reflective. Nothing in his life was planned, he said, but everything fell into place after joining Peta. Theater became a calling, offering meaning beyond the conventional path.
He feels fortunate to have fulfilling work in both theater and advertising—two careers that complement each other. Even after personal loss, including his mother’s death and the end of an eight-year relationship, he chooses to focus on what he calls “overwhelming blessings.”
“Gratitude is at the center of everything,” he said. “Life has given me more than I ever asked for. And that abundance—that’s what fuels the joy.”
