It is exciting to feel and see the energy of younger generations of Filipino Americans as they create new perspectives on Filipinos in the U.S. In the 20th century, the community was demarcated as pre-1965 Filipinos and post 1965 immigrants. In the 21st century, Filipino American Studies scholars research and document an evolving brown identity. Filipino American performance artists complement their work.

One such artist is Seattle-based playwright Anamaria Guerzon and her fellow mixed race third or fourth generation Filipino cohorts in the U.S., who grew up in the early 2000s. Sifting through indigenous roots and folklore, they resurrect these morality stories into contemporary, but not always easily navigable, scenes.  

Blood/Sucker, a play written by Guerzon which runs from August 28 to September 21 this year, depicts “the state of public education through Filipino mythology,” according to the marketing description. “Blood/ Sucker is a bloody horror play about the public school system and those who feed it.”  

The protagonist is a high school teacher many students, faculty and parents can readily identify with. 

Only 26 years old, Guerzon has already written several plays, and she is proud that Blood/Sucker is in full production. She believes in the magic of human experience. Getting your work produced as a Filipino American playwright is no small achievement and still a rarity. Artists such as Anamaria Guerzon are trail blazers to expand their numbers and impact. Directed by Sophia Franzella, Blood/Sucker will have its world premiere and opening night at the Washington Ensemble Theater on Friday, August 28. It runs through Monday, September 21. Some shows are ‘Pay-What-You-Will.’  

For tickets and information, go https://washingtonensemble.org/blood-sucker/  

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