The paper is an auto-critique of my adaptation process for Ang Sugilanon ng Kabiguan ni Epefania, a one-act play based on the short story “The Sugilanon of Epefania’s Heartbreak” by Ian Rosales Casocot. The source text uses English and Cebuano, while the play uses Tagalog and Cebuano. Thus, the paper’s discussion focuses on the ways in which the changes in language informed my artistic choices in adapting the script. Looking at the process using the structuralist theory’s definition of text, it is also interesting to note the contexts that influenced the creation of this adaptation. The context of production takes my subject position into account: I am a Waray-speaking playwright from the Visayas region of the Philippines who is currently based in Metro Manila, who was trained in creative writing with English as its medium of instruction, and who now writes bilingual works. As for the context of consumption, I was aware that the play would be staged in and would involve theatre artists from Manila. Hence, I had to take concerns about its language and understandability for a primarily Tagalog-speaking audience into consideration, along with the limited availability of actors who could speak Cebuano. These respective contexts clearly had a great bearing on the way that I created the adaptation, allowing and limiting many aspects of my writing. Moreover, I find it necessary to analyze my adaptation process for this work. I consider this play and its staging at the Virgin Labfest 2016 to be the starting point of my emergence as a playwright in Manila theatre. This text and my process still informs much of my creative process to this day as someone who continues to write adaptations and bilingual dramatic scripts. Thus, an auto-critique of my own process will provide me with foundational insights on my creative process for plays that I have written after Sugilanon.