(There are no moons like Baguio moons. The moonlight in Baguio has a way of filtering through pine branches, shining through white clouds, casting an enchanted glow (on everything).? ?from the monologue of the Carnival Queen in ?Baguio Stories?)

WHEN GUEST actress Banaue Miclat emerges onstage in the University of the Philippines Baguio production of ?Baguio Stories,? she is swathed in mist, the early 20th-century off-white gown and leather boots of the Igorot Carnival Queen. She is flirtatiously humming and singing ?You Made Me Love You,? a song popularized by Judy Garland.

Miclat?s part, written by journalist Nonnette Bennett, is one of eight monologues being staged by professionals from various fields under the direction of Martin Masadao.

Masadao is a third-generation Baguio boy, now a Makati-based freelance production designer for film, TV and stage, and an advertising copywriter.

As his personal offering to the city?s centennial celebration this month, he took it upon himself to rally fellow members of the Baguio Writers Group early this year to write more short monologues to add to his original four first mounted in 1997 at the UPB summer arts festival.

?Baguio Stories? runs all weekends of September with a 3 p.m. matinee and 7 p.m. gala at the UPB auditorium, Gov. Pack Road, Baguio City.

Miclat reprises her role on the last weekend of the month. Her alternate is Mariz Simeon Guinawan.

Bennett contributed the character of the Carnival Queen. Inquirer correspondent Frank Cimatu wrote the part of the faith healer (powerfully played by Dennis Gutierrez); businesswoman-poet Luchie Maranan, the Burnham Park photographer (Christian Fajardo); and folk singer-activist Igan Marasigan, Jun the folk singer (played by Marasigan himself).

Masadao updated the roles of grouchy old woman Celing (played by Maranan); discontented housewife Marie (Shine Queri); Victor the gay AIDS-afflicted balikbayan (sensitively played by Masadao), and Jefferson the Wright Park pony boy (Kokoy Palma).

These fictional characters hold up a mirror to Baguio old-timers, residents and migrants to see themselves. As always, the truth hurts.

Facets of contemporary city life are mentioned by these characters: kitschy public art like the concrete pine tree and Sacred Heart monument on upper Session Road, both put up by former mayors; poor service providers like telephone companies; commercial photographers marginalized by the advent of point-and-shoot and digital cameras; Peyton Place adulterous scenes and malicious gossip that take place at membership-only clubs; gimikeros at folk joints who make fun of a good but underpaid live performer by requesting songs by April Boy Regino and Michael V, by impolitely smoking or vomiting in front of him; rich vacationing Manila girls who leave a trail of broken hearts behind; and so on.

Individuals with ambitions of running for public posts in the next city elections would do well to watch ?Baguio Stories,? be sensitive to the strong strain of nostalgia that holds the disparate monologues together, and be reminded of what went wrong with the overdeveloped, overpopulated summer capital of the country. So that once again we may breathe easy in a city of pines.