Love or survival? Jasmine Curtis-Smith faces the price of romance in ‘Endo’

In “Endo,” Jasmine Curtis-Smith plays Tanya, a woman forced to choose between romance and survival in a world where job security feels like a myth.

Can you really afford to fall in love when you’re completely broke?

This is the harsh reality and burning question explored in the upcoming stage production of “Endo.”

In a story where both romance and employment are bound by its “end of contract,” and dreams feel painfully out of reach, actress and emerging theater artist Jasmine Curtis-Smith steps into the shoes of Tanya, a 9-to-5 woman fiercely navigating the intersection of love and survival.

A heavy price

Faced with the crushing weight of inflation and the ever-rising costs of fuel and basic commodities, Tanya embodies a heartbreaking reality that many Filipinos discover early on: a creeping sense of hopelessness in their own country.

Left with little choice, she sets her sights on greener pastures. Tanya looks westward, holding onto a lifelong dream of becoming a nurse in the hopes of finally securing her future in either Germany or Switzerland.

For the pragmatic character, romance is simply a luxury she cannot afford when basic survival and future stability are on the line.

“If you think about it… hindi din niya naiintindihan paano ako magkaka-oras sa love life kung wala nga akong pera,” Jasmine further explained, delving into the heavy burden her character carries.

Art imitates life

Stepping into the Philippine theater scene for the first time, Jasmine reunites with her “Alter Me” co-star, actor Royce Cabrera, who is also making his highly anticipated stage debut.

To authentically capture the complex dynamic between Tanya and Theo, the duo relied heavily on “stress-bonding.” Juggling demanding schedules and dealing with mutual fatigue, Jasmine and Royce used their real-life exhaustion to build their on-stage tension. This shared weariness translates seamlessly into their scenes—whether it’s depicting the quiet, heartwarming solace found after a long day, or the explosive, argument-inducing stress brought on by the daily grind.

“Isang malaking bagay ‘yon [that] we talk about our work outside of here, mga similarities ng mga nagiging castmates namin or what he’s also busy with,” Jasmine shared, noting how their off-stage catch-ups grounded their performances.

Rather than letting the exhaustion hinder their acting, the pair used it as the very foundation of their characters’ relationship.

“Pareho tayong pagod, pareho tayong may pinanggalingan na trabaho, and now we’re here,” she reflected on their mindset during rehearsals.

But the exhaustion the actors channel on stage is a reflection of a much larger, systemic issue. According to the 2022 Integrated Survey on Labor and Employment by the Philippine Statistics Authority (PSA), nearly half of businesses in the country rely on contract or agency-based workers—often with little to no clear path to regularization.

With Labor Day approaching on May 1, the play’s underlying themes hit particularly close to home. The dreaded “endo” (end-of-contract) scheme remains a prevalent and paralyzing reality in the Philippines.

Stripped of job security, the everyday Filipino is often forced to fall back on the culture of “diskarte” — surviving through insecure side-hustles like live selling and on-demand delivery service, or making the difficult choice to leave their families behind for greener pastures abroad.

Ultimately, Endo holds up a mirror to the modern Filipino laborer’s struggle. Through Tanya’s journey, the production drives home a poignant truth: sometimes, the end goal of the relentless daily grind isn’t just to amass wealth, but to finally afford the ultimate luxury — the time to actually live and love.

 

 

If you think about it, hindi din niya naiintindihan paano ako magkaka-oras sa love life kung wala nga akong pera.

Jasmine Curtis-Smith

 

 

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