"Discomfort and intrigue" is the generous way to describe how I felt sitting through Karne (or "Meat," a point  that becomes deeply unsettling by the end).  This author came in cold with simple intel: "it's pretty dark." 

To no one's surprise, it is indeed dark.

But is it just that? Not even close. A reimagining of Roald Dahl’s “Lamb to the Slaughter,” but with a distinctly Filipino flavor, Karne is set in Lubotan, Zamboanguita, Negros Oriental in 1980.  FEU Theater Guild's take on Dahl serves up those undocumented moments from people's lives during martial law, focusing on the unique suffering of housewives. 

Helmed by Dudz Teraña, the stories hit harder knowing they were taken from the cast's own grandparents—this isn't just history; it's inheritance.

The play felt like a grimy window into a time of conflict and oppression. For a university production, the professionalism was staggering. They built a world before the show even started; I felt like I was sitting in a local restaurant, watching a main character casually prepare food. 

The music perfectly nailed that the nostalgic vibe, pulling you right in.
 

The actors were some of the best I’ve seen recently, student or not. This author felt every ounce of annoyance and grief in their voices. Even when the deep local language flew over my head, their raw emotion and physicality translated everything perfectly.