The building is small measuring only about 15 ft x 35 ft. Legally speaking it has a maximum capacity of 53 people. But just between you and me, they've managed to fit over 135 during one of their shows. A play which really stretched the use of studio space was 'DAMO'. The seats were placed on the side walls turning the place into a giant jeepney. However, the essence of what they're trying to do trancends the physical boundaries of the place. Their vision can't be measured. And what is their vision you ask? To put it plain and simply they want to be the 'Epicenter of Filipino Performing Arts'.

      According to Allan Manalo, the studio's head honcho. "We're trying to establish a space where young Filipino American artists can create and perform the many rich stories we have in our heritage and contemporary lives...Epicenter is a play on the fact that we live in a city that has been associated with earthquakes."

      A Filipino Performing Arts Center. Hmmm what a concept! I vocalize the thought. I pronounce the words, mouthing each syllable. Epicenter of Fi-li-pi-no Performing Arts - kinda has a nice ring to it, don't you think? I repeat it in my head like a defective cd looping over and over to a specific track. I know we've got tremendous talent out there but to have a permanent place where they can perform for an audience. Again what a concept! Can you picture it? Imagine people gathering for a nights entertainment of music, song and dialogue intricately pieced together to form a beautiful tale. But not just any tale, one with a Filipino twist.

      I asked Allan whether they catered to a Filipino audience. His response was " Not necessarily. We write from a Filipino American perspective. The best audiences are Filipino audiences obviously, they can relate to the writing. However, we don't want Filipino artists and our work to be treated as novelty. We are trying to nurture and develop the Filipino voice." Their main target audience though are young Filipino college and high school students. "We hope to educate and inspire folks with what we present at Bindlestiff Studios. We as Filipino artists are experiencing something similar to the Harlem Renaissance of the 30's and 40's because of the many performance groups and artists that are out there making things happen. It is truly an exciting period to live in as a Filipino American and Bindlestiff studio is establishing itself to be part of the history that is being made."

      This brings me to the name Bindlestiff. Sounds more like a rock club or a bar and certainly not very Filipino. According to Allan the studio was established in 1989 by Chrystene Ells. He contemplated changing the name when he took over to something more Filipino but since Bindlestiff already had a great reputation he decided to keep the name. "It is a very unique name. Only one other theater group in the entire country ( Bindlestiff Circus out of New York ) shares the name." He discovered the studio in June of 1997 when he saw a show by Lorna Aquino Chui (now a regular player of tongue in A mood) titled 'Babae'. He was not only blown away by the play but "I also fell in love with the space and saw an opportunity for tongue in A mood to finally perform in a theatrical setting since the colleges we were playing were usually limited technically."

      Having only taken over the studio in the later part of 1998. They've staged such shows as OA naman, Sungka, Anchored Angels, Evidence, Bindlestiff Sessions, Siyam Siyam show, Flipsights 99, Damo and many more. The studio also hosts PiNoisePop - a biannual music event featuring Pinoy and Pinay bands. As you can imagine running the place is not easy. In fact during the production of Damo a toilet in the residential hotel upstairs flooded the studio's kitchen/greenroom area. They had to clean the mess up an hour before show time and on a date when they scheduled two shows in one night. So with a little help from family,friends and some volunteers they keep the studio running. Joyce Juan Manalo, Allan's wife is the executive director of Teatro ng Tanan as well as box office manager/assistant administrator. Her staff is Christina Lai & Kat Marcos. Ogie Gonzales is sound technician, Rene Acosta is property manager, Theo Gonzalves is musical director, Mark marking is stage manager (as well as performer). Lorna Aquino & OLiver Saria are light techs. Allan Manalo is all around managing director/house manager/light designer/performer/head man of the studio. Talk about wearing many hats. They also get volunteers/students from Prof. Dan Begonia's Filipino American classes to help out.

      Currently the studio has three resident troupes - Teatro ng Tanan, Riot Act Theater Company and tongue in A mood. What does Allan forsee in the future for the studio - "The Epicenter of Filipino Perfoming Arts". That phrase again. I suppose it's the studio's mantra. Let's hope, actually let's try to bring it to reality. Bindlestiff is up to a good start. The studio has managed to stay open purely on ticket sales for now. So if you're in the San Francisco area or live near the bay, do stop by and see one or two of their shows. Maybe inspired by Bindlestiff, other Filipino Performing Centers will pop up. Then the studio truly would've become the epicenter of it all.

      8:00 pm., we work our way inside and find a place to sit. The studio goes dark. I anticipate the beginning, not sure what will happen next. Then slowly a light shines on the center of the stage. SHOWTIME PEOPLE.