Happy Feraren is a Filipino-Australian playwright, improviser, and storyteller whose work bridges cultures, communities, and performance traditions. With a plethora of experience in improvisational theatre across Australia and the Philippines, she has built a reputation for creating work that is sharp, collaborative, and deeply connected to the people it serves.
Recently making her playwriting debut with SAVIOR, a satirical new work presented by Griffin Theatre Company, Feraren continues to explore identity, contemporary Filipino culture, and the power of storytelling through both stage and script.
In this Colour Box Studio interview, Feraren shares about her creative journey, the influence of improv on her practice, and what it means to create work that resonates across communities. SAVIOR runs until June 14 at the Belvoir St. Theatre.
Tell us a little bit about yourself and what you do.
My name is Happy Feraren. I’m a Filipino-Australian playwright and improviser. I’ve been doing improv for about 20 years – traveling between the Philippines and Australia to perform with my group SPIT Manila back home and my group Fillow Talk here.
I also just debuted my first play SAVIOR.
How did you start your creative practice and why?
I used to be a painfully shy kid. I’d say it all started when I came out of my shell. I was so quiet in class none of my primary school teachers remember me. By the time I reached high school, I wouldn’t stop talking. I was so talkative. Performing mini skits in class and eventually found my interest in broadcast media. I got involved in live radio and TV presenting while in university. Covering live events was such a thrill, it really pushed me to be present. To be hyper aware and to actively listen. From there I moved into doing improv theatre. An artform that is truly centred on the here and now. I find it fascinating that we get to generate so much creative energy with just the presence of people in the room – the ensemble you’re with and the people you’re performing to. I started doing improv in 2007 and never looked back. There is no set, no script, no stagine cues and yet the theatre we get to create feels like a full production. On the surface there’s not much we’re working with but really it’s years of honing narrative and comedic instincts. I’m constantly learning so I never get tired of it. I’ve learned so much from years of experience, performing different types of shows around the world, with all types of people.
Where did you grow up and how has it influenced your practice?
I grew up in Manila where mounting shows is very DIY. Arts funding all around the world is a challenge but it never stopped us from doing what we wanted to do and I’m glad that we pursued opportunities ourselves. It was probably a combination of our shows being low-cost (we literally just need a confirmed cast) and being such a niche artform that there was nothing to lose. I acknowledge too the privilege behind having day jobs and financial security from family that allowed us to pursue art. We were also very staunch about our shows being relevant to our market. If you look at how improv is practised globally, it’s very North American focused. We didn’t want to just replicate that style with no regard for who we are actually performing to. Many of our formats were adapted to fit local sensibilities and current events. That has really influenced my performing arts approach. Even in playwriting, I use my improv background and training to create relatable characters and believable dialogue.
Tell us about your past creative projects. What has been your most treasured creation or a highlight so far?
Looking at the success that my group in Manila has experienced is something I really treasure. The improv audience base has grown exponentially and I still find it quite unbelievable. For context, our regular shows used to be on the second floor of a cafe. With a regular audience size of anything from 25 people on a slow night to 100 people on a good night. Now, we’re doing consistently sold out shows in 400-1500 seater theatres with a multi camera set up, full LED screen background, custom wardrobe, plus a whole team for tech support and front of house! It’s incredible.
Tell us about your current project.
My play SAVIOR (Griffin Theatre Company) is currently showing at the Downstairs theatre of Belvoir Street Theatre. I’ve been working on it for 4 years and seeing it come to life as a full on production has been such a joy. For the most part, writing a play feels very lonely. You’re by yourself, writing down thoughts and ideas, creating a script that contains the structure and elements of a story I’m trying to tell. But once it gets out of the page and onto the stage, it finds a life of its own with the director’s interpretation and actors growing into their characters. And then you have the added layer of world building through production, lighting, and sound design. And then seeing it land in so many different ways with so many different audience members. It keeps growing and finding life with people who are moved by it – each for a different reason. I’m enjoying just sitting back and watching the play grow and evolve on its own.
Who or what inspires your practice?
My improv background is something I constantly lean on. It’s how I work. I’m highly collaborative and am very much a learn-by-doing kind of person. I’m happy to test out ideas on the floor no matter how half baked or silly it may seem. For me, you’ll never know until you try and it’s good to actually see for yourself how an idea doesn’t work so you can adjust and try again. It’s my process of refining ideas. Just keep churning them out, cut what doesn’t work, keep what works, document the offers and see if you can use them for other things later, and then move on. I don’t like belabouring decisions because I’m already an over thinker in real life!
Where do you feel most creative and why?
I’m most creative in a room full of collaborators. I’m such an extrovert in the sense that people really energise me and fuel my process. Having said that, I do also have those aha moments when I’m by myself on a walk, taking a shower, or right before I fall asleep.
What’s the best compliment you’ve received from a show or work?
The reception has been so heartwarming from people of ages and backgrounds. Hearing that people want to watch it again right when they walk out of the theatre or that it’s the best thing they’ve seen all year is really special. When Filipinos who watch it say that not only do they feel deeply represented but also feel proud of how unapologetic it was in all its depictions of contemporary Philippine culture. As a satirical piece, people have said it was equal parts hilarious and heartbreaking with a very strong message. That really makes me feel seen because it’s exactly what I was trying to achieve.
What gets you through creative challenges or tough industry times?
Good food, good people, and lots of naps.
What future projects are you looking forward to?
Logical answer would be my next play but who knows what shape or form that might take.
Whose work are you digging at the moment?
Rappers DOBBY and BVT. So lyrically sharp and fantastic performers! Also very pleased that they have become collaborators for this play. DOBBY as Composer and Sound Designer and BVT as an actor during development.
Where can we find and follow you online?
SAVIOR runs until June 14 at the Belvoir St. Theatre – https://griffintheatre.com.au/whats-on/savior/
Instagram: @imhappylipina (personal)
@fillowtalk_comedy (SYD improv group)
@spitmanila (MNL improv group)
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