GMG: Review of LES MISERABLES: WORLD TOUR SPECTACULAR: Definitely Delivered!

January 20, 2026

Jean Valjean was locked up in jail for 19 years for stealing a loaf of bread. When he was released, he broke his parole and changed his identity, which became cause for the obsessive pursuit of police officer Javert. Years later, Valjean, now Monsieur la Maire (or Mayor), took it upon himself to adopt Cosette, the daughter of his departed employee Fantine, and raised her like his own. Several years later, teenage Cosette met and fell in love with an earnest student named Marius. Then, the tumultuous June Rebellion of 1832 broke out in Paris.

The original stage musical Les Miserables, written by Alain Boublil and Claude-Michel Schönberg, based on the novel by Victor Hugo, was first staged in Paris in 1980. The English adaptation with lyrics by Herbert Kretzmer, produced by Cameron Mackintosh, played in London in 1985, and then on Broadway in 1987. It won 8 Tony awards in its first run, including Best Musical, Best Original Score, Best Book of a Musical, Best Director (Trevor Nunn and John Caird), Best Featured Actor (Michael Maguire as Enjolras) and Featured Actress (Frances Ruffelle as Eponine), Best Scenic Design, and Best Lighting Design. 

I had been singing along with the original Broadway soundtrack album (Colm Wilkinson as Valjean) since way back in the 1980s. In 1993, we watched the Repertory Philippines all-Filipino production staged at the Meralco (Cocoy Laurel as Valjean). In 2012, there was a film version of the musical by Tom Hooper (Hugh Jackman as Valjean), and we rooted for it to win the Oscar for Best Picture (it didn't). In 2016, an international touring production was staged at the Theater at Solaire (Simon Gleeson as Valjean), and we watched that too. On top of that, we never get tired of re-watching videos from the 10th and 25th Anniversary Concerts. 

This year, Cameron Mackintosh, in association with Nick Grace Management and GMG Productions, brings 40 year-old "Les Miserables" back to Solaire in a new expanded concert-like format. This production is directed by James Powell and Jean-Pierre Van Der Spuy, set designed by Matt Kinley, costumes by Andreane Neofitou, Christine Rowland, and Paul Wills. The lighting by Paule Constable and Warren Letton and the sound by Mick Potter highlighted a dazzling laser light show as bombs fell on the scarlet-lit barricades. The live orchestra (which includes 17 Filipino musicians) is conducted by Adrian Kirk.

In the lead role of Jean Valjean was Argentinian performer Gerónimo Rauch. He possessed an astounding versatile tenor with a broad range which can handle the punishing singing requirements of his role, from the powerful chest belt at the end of "Who Am I?" to the sustained ethereal prayerful falsetto for practically the entire song of "Bring Him Home." Physically, Rauch's bulky build makes his Valjean's muscular strength believable, while his kind facial features enhance Valjean's fatherly nature.  

Playing opposite Rauch as his main nemesis Javert is veteran Australian performer Jeremy Secomb. He played Javert's warped obsession with unnatural intensity, likely helped by his past portrayals of sinister leading men like the Phantom and Sweeney Todd. Secomb was made up to look gaunt and crazed as he sang his two iconic signature songs, namely "Stars" and "Javert's Suicide," with his strong stirring baritone. His "fall" into the River Seine was executed purely by vocal and lighting effects -- a very haunting scene indeed. 

Filipino audiences of course focused their attention on the Filipino artists in the cast. Even if this role of uncouth Madame Thenardier was outside her comfort zone, Lea Salonga was a comic revelation, so funny in her interactions with Red Concepcion as her unscrupulous "Master of the House" husband. Rachelle Ann Go reprised her role as the tragic Fantine, giving "I Dream a Dream" her own phrasing. Most impressive was US-based Emily Bautista's very clear dramatic vocals as the unfortunate waif Eponine, particularly in "On My Own." 

Will Callan's main highlight remained to be Marius's elegiac "Empty Chairs at Empty Tables."  Lulu-Mae Pears had that very high-pitch soprano expected from all Cosettes before, but hers was quite fragile and delicate, especially in that last note of "A Heart Full of Love." The scenes featuring Harry Chandler's Enjolras and the other students (Grantaire was a standout) were riveting to watch. Aside from their rousing songs "Red and Black" and "Do You Hear the People Sing," their death scene was also a gripping highlight of stage execution.  

Being an expanded concert, this show trusts that the audience already knows the whole story by heart. Projections by Finn Ross were being flashed on screens above the orchestra filling in some story-telling gaps. However, for those watching Les Mis for the first time, these may not be clear enough for plot continuity (like that part how Javert began to suspect Monsieur La Maire could be Jean Valjean, among others).  Anyhow, most people came here to listen to (and try not to sing along with) these beloved iconic songs sung live by acclaimed West End and Broadway performers, accompanied by a live orchestra, and that it definitely delivered.

The Final Curtain Call

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Les Miserables The World Tour Spectacular opened in the UK in September 2024. Since then its company and crew of over 110 had toured over 30 cities in Europe, Australia, and Asia. The show runs at the Theater at Solaire from January 20 to March 1, 2026, with no extensions possible. As of now, all 48 shows are sold out! After Manila, it will go to Singapore, before returning to London and then on to New York. 

The 28 man-strong ensemble include: Jonathon Bentley, Georgina Blessitt, Amelia Broadway, Michael Burgen, Mary Jean Caldwell, Rosy Church, Gabrielle Cummins, Beth Curnock, Shaun Dalton, Jade Davies, Jonathan David Dudley, Harry Dunnett, Louis Emmanuel, Charlie Geoghegan, Connor Jones, Abel Law, Adam Robert Lewis, Andrew Maxwell, Jil Nalder, Lisa Peace, Emma Ralston, Ciaran Rodger, James Sillman, Harry Grant Smith, Jo Stephenson, Geddy Stringer, Helen Walsh, and Owain Williams.

The Filipino musicians in the orchestra include: John Gerald Calma, Dino Decena, Mary Anne Espina, Fransisco Llorin, Mhaze Lim, Jonathan Livioco, Dondon Lucena, Luke Manuel, Kier Manimtim, Marloe Maruyama, Gabriel Mendoza, Paul Ramos, Coi Reyes, Steve Retallick, Raymond Sarreal, Jordan San Jose, and Miko Villena. 

Review of PEOPLE V DELA CRUZ: Jury in a Jam

January 14, 2025

The Judiciary branch of the Philippines had finally adopted the Jury System in settling cases brought to trial. In the local version of the jury, there would only be six jurors, likely because of financial constraints. The first case tried under this new system was the controversial case of People v. De La Cruz. Dela Cruz was an alleged drug addict who was accused of the murder of a policeman whom he shot during a drug raid. 

The trial was now over, and the six jurors sequestered themselves in the jury room to come up with a unanimous verdict. The jurors (known by their pseudonyms) include: retired politician Mayor Rico (Mark Aranal), religious CWL matron Marian (Emlyn Olfindo-Santos), school teacher Katniss (Althea Aruta), student leader Lean (Aaron Dioquino), Gen Z princess Solara (Pauline Arejola), and the foreman, paralegal Orion (JP Basco).

This 1-hour long one act play is the second project of Eldrin Veloso as writer-director, after his original musical "Pilato" last year. He has now come up with the idea of showing the challenges to implement the jury system locally given the typical mindset, personality and social mores of Filipinos. This hard-hitting, thought-provoking play is for mature audiences who can discern and analyze if a jury can ever work in the Philippine justice system or not. 

During the Q&A, Veloso revealed that he based the personalities of the six jurors on the Six Thinking Hats of Dr. Edward de Bono. Each juror represented a certain style of thinking, although some were better applied than others. Mayor Rico's barong is black (Judgement). Marian's scarf is yellow (Positivity). Katniss's blouse is white (Facts), Lean's bandanna is green (Creativity), Solara's jacket is red (Feelings), and Orion's shirt is blue (Analysis).

As can be expected, tensions in that jury room escalated quickly, especially when their initial vote turned out to be a dead heat at 3-all. The more vocal members of the jury tried to convince the dissenters to switch over to their side, so that they can all go home already. As a guilty verdict may lead to the death penalty for dela Cruz, there was intense pressure from the crowds and reporters rallying outside the courthouse awaiting the historic decision.

Aranal's arrogant domineering Mayor Rico collided with Dioquino's rough argumentative Lean (name from the assassinated activist). Olfindo-Santos's Marian invoked divine intercession, but the pressure soon ruffled her feathers too. Arejola's youthful Solara grumbled about her Instagram at first, only to realize that the stakes were much higher. The persistence of Aruta's steadfast Katniss would cause Basco's calm Orion to explode eventually. Rain de Jesus's mousy Marshall and her sandwiches provided comic relief amidst the stressful anxiety. 

Seated (L-R): De Jesus, Olfindo-Santos, Aruta, Arejola

 Standing (L-R): Basco, writer-director Veloso, Aranal, Dioquino 

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Deliberations were going nowhere near resolution, until a piece of evidence was reviewed. This evidence was so clear-cut that it begged the question why jurors were not impressed by it when it was presented during the trial proper. They said they wanted to see it again, but it was as if they were seeing it for the first time, and that did not seem logical. Veloso and crew may have to give this crucial climax some more careful reconsideration. Could the execution of this evidence be altered to make it less incontrovertible, or should it even exist at all? 

This was just a press preview that I watched, the first time the play was performed in public. I trust that there is still ample time to make adjustments in that final segment in order to make a more powerful impact at the ending, in time for opening night on January 16. 

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PEOPLE V DELA CRUZ runs at the Corner Studio (4/F J&T Bldg, Magsaysay Ave, Sta Mesa, Manila), from January 16 - 24, 2026 for only 6 shows. Showtimes are at 7 pm on Fridays and Saturdays, with 3 pm matinees on Saturdays. Tickets at P800 each, seats at first come - first served basis. 

My Yearend Roundup: THE BEST OF PHILIPPINE THEATER 2025

January 3, 2026

For the year 2025, I had seen and written about 37 theater productions: 11 musicals (6 in Filipino, 5 in English), 10 full-length plays (9 in Filipino, only 1 in English), and 16 one-act plays (12 in Virgin Labfest, 4 in 2 Dulaang UP double-headers). 

2025 marked the end of my 10-year stint as a juror of the Gawad Buhay awards. While thankful that I still do get invited as media by certain theater companies, I now need to buy tickets to several shows myself. Because of this, I won't be able to watch each and every show with each and every alternative cast, nor be able to sit in the best of seats, anymore.  

Among the major 2025 shows I was not able to watch were Theater Group Asia's "Into the Woods" and the touring production of "Dear Evan Hansen," for which tickets were sold out quickly, pricey notwithstanding. I also had to prioritize watching new shows over re-runs of recent hit shows, like "Walang Aray," "3 Upuan" or "Pingkian". 

I will list here what I feel were the best among those theater shows I had seen and written about for 2025:

I. MUSICALS - IN FILIPINO

BEST: SI FAUST (Arete) (My Full Review)

"Faust," a 19th century tragic play in verse written by Johannes Wolfgang von Goethe is considered the greatest work in German literature. The story was about a desperate man named Faust who made a deal with a devil figure named Mephistopheles. Mephistopheles will let Faust experience heaven here on earth. But in exchange, Faust agreed that after death his soul will follow Mephistopheles straight into hell, where he'll spend his afterlife. 

There may have been hints here and there that he was a stage neophyte, Ton Vergel de Dios was naturally charismatic as the young, vital post-transformation Faust. Maita Ponce was an electrifying stage presence with the spunk, confidence and rock-star attitude required for the deceitful Mephistopheles role. They had quite a number of duets throughout the show, and they sure can wail them out. The most remarkable of them all was "I.O.U" in the second act, when Mephistopheles ("I own you") was collecting on Faust's debt ("I owe you").

Music and Songs: Basti Artadi

Stage Direction: Nelsito Gomez 

Other Notable Productions:

"Gregoria Lakambini" (Tanghalang Pilipino), directed and co-choreographed by Delphine Buencamino, book by Nicanor Tiongson and Eljay Castro Deldoc, music by Nica del Rosario, Matthew Chang and Flip Music. (My Full Review)

"Liwanag sa Dilim" (9 Works Theatricals), direction and book by Robbie Guevara, music and songs by Rico Blanco, musical direction by Daniel Bartolome. (My Full Review)

Notable Performances:

Joseton Vergel de Dios, Shaira Opsimar and Maita Ponce ("Si Faust"), Marynor Madamesila and Heart Puyong ("Gregoria Lakambini"), Khalil Ramos, Vien King, Alexa Ilacad and Boo Gabunada ("Liwanag sa Dilim"), Phi Palmos, Shaira Opsimar and Tex Ordonez-de Leon ("Delia D.") (My Full Review), David Ezra and Jett Pangan ("Jeproks: The Musical") (My Full Review), Noel Rayos and Jeremy Manite ("Pilato") (My Full Review)

Memorable Technical Aspects:

Set design, Lighting design, Sound design, Projection designs of "Si Faust," Costume designs of "Gregoria Lakambini," Set design, Lighting design, Costume design, Projection designs of "Liwanag sa Dilim," Set designs, Projection designs of "Delia D."

II. MUSICALS - NOT IN FILIPINO

BEST: SHREK THE MUSICAL (Full House) (My Full Review)

Lord Farquaad (Alfredo Reyes) hated fairytale creatures, so he banished them away from the kingdom of Duloc. They camped out in a nasty swamp, which turned out to be the residence of a scary green ogre named Shrek (Jamie Wilson). To get his house back, Shrek struck a deal with Farquaad to find and rescue his dream wife Princess Fiona (Krystal Kane) from the tower guarded by a dragon where she had been locked in since her childhood. 

With his expressive voice and body, Jamie Wilson was able to bring out Shrek's kind heart even we cannot see his actual face. Krystal Kane nailed those long high notes of Fiona's songs, as well as the quick changes she required. Even without a snout, Topper Fabregas imbued his delightful Donkey with a cute bouncy gait and a sharp sassy attitude. Kneeling to play Farquaad must have been physically punishing for Alfredo (formerly known as Bibo) Reyes, but we do not see any of that with his gleeful portrayal of cartoonish villainy.

Book: David Lindsay-Abaire

Music and Songs: Jeanine Tesori

Stage Direction: Dexter Santos

Other Notable Productions:

"We Aren't Kids Anymore" (Barefoot Theater Collaborative), directed by Rem Zamora, book by Drew Gasparini, orchestrations and vocal arrangements by Justin Goldner and Drew Gasparini, musical direction by Myke Salomon and Farley Asuncion. (My Full Review)

"Side Show" (Sandbox Collective), directed by Toff de Venecia, book and lyrics by Bill Russell and music by Henry Krieger, musical direction by Ejay Yatco. (My Full Review)

Notable Performances: 

Jamie Wilson, Krystal Kane, Topper Fabregas and Alfredo Reyes ("Shrek the Musical"), Myke Salomon, Maronne Cruz, Luigi Quesada, Gio Gahol and Gab Pangilinan ("We Aren't Kids Anymore"), Krystal Kane, Molly Langley and Joshua Cabiladas ("Side Show"), Carla Guevara-Laforteza, Sheila Francisco and Topper Fabregas ("Come From Away") (My Full Review), Floyd Tena and Benedix Ramos ("Next to Normal") (My Full Review)

Memorable Technical Aspects:

Set design, Costume designs and Creature puppetry of "Shrek the Musical," Costume designs of "Side Show," Set design and Costume designs of "Come From Away"

III. PLAYS - IN FILIPINO

A. ONE-ACT: 

BEST: ANNIVERSARY (Virgin Labfest XX) (My Full Review)

On the first death anniversary of his wife Rachel, carpenter Rob (Jamie Wilson) visited her gravestone at the memorial park. He had not yet moved on from her unexpected passing, misery and pain apparent on his face. He actually planned to end it all right there and then. However, before he could do anything, an old retired teacher named May (Bibeth Orteza), who was then visiting the grave of her best friend Anne Marie, saw him and began to chat him up.

This must be the first Virgin Labfest plays I've seen with a story told in three parts and a coda.  The mostly English script of Nelsito Gomez was a very eloquent discourse about the grief felt upon losing a life partner. The topic may sound morbid, but there was a healthy dose of humor. The witty and pithy lines were delivered by Wilson and Orteza so naturally, with sincere emotional connection. The set design may be simple, but that tree with orange leaves at centerstage was very classy and memorable.

Writer: Nelsito Gomez

Director: Sarah Facuri

Other Notable Productions:

"May Katwiran ang Katwiran" ("Para Kay Tony" by Dulaang UP), written by Rolando Tinio, directed by MJ Briones, with mentor-director Charles Yee (My Full Review)

"Goodnight, Love" (Philstagers: 3 Pride Plays), written and directed by JP Lopez

"Unang Araw" (VLF XX), written by Ivan Villacorta Gentolizo, directed by Cholo Ledesma (My Full Review)

Notable Performances:

Jamie Wilson and Bibeth Orteza ("Anniversary"), Sherry Lara ("Mommy G"), Kerr Allen and Daniel Duplon ("May Katwiran ang Katwiran"), OJ Arci and Gerald Magallanes ("Good Night, Love"), Andoy Ranay and Kiki Baento ("Presidential Suite"), Roi Calilong ("The Late Mr. Real"), Sheryll Ceasico ("Kalahating Oras sa Isang Kumbento"), Angelica Panganiban ("Don't Cry for Me, Catriona")

Memorable Technical Aspects:

Set design of "Anniversary," Set design of "Ang Problema sa Trolley," Costume designs in "Mga Anak ng Unos" 

B. FULL-LENGTH

BEST: KISAPMATA (Tanghalang Pilipino) (My Full Review)

Ex-policeman Dadong (Jonathan Tadioan) ran his household located in Zapote Street like a tight ship. His wife Dely (Lhorvie Nuevo) was already numbed to all the years of physical, sexual and psychological abuse under him. Their only daughter Mila (Toni Go) wanted to marry her boyfriend Noel (Marco Viana). Dadong agreed, but he used Dely's delicate condition as an excuse, to make sure that they won't move out. 

Tadioan's imposing bodily heft looked intimidating even if he was just silently standing around with his sinister scowl. He affected this wheezy voice that made his Dadong more creepy, truly a devil incarnate. Nuevo's physical demonstrations of abuse and haunting whispery voice were disturbing to watch and listen to.  Go's Mila was the poster-girl of Stockholm Syndrome, caught between filial loyalty and self-happiness. Viana's Noel was like an animal desperate to free himself from the trap he unwittingly got caught in. 

Writer: Guelan Luarca, an adaptation of the screenplay by Mike de Leon, Clodualdo del Mundo and Raquel Villavicencio for the 1981 film

Director: Guelan Luarca

Other Notable Productions

"Quomodo Desolata Es? Isang Dalamhati "(Arete), directed by Guelan Luarca, an adaptation of Nick Joaquin's "A Portrait of an Artist as Filipino" as translated by Jerry Respeto (My Full Review)

"Dagitab" (Scene Change), directed by Guelan Luarca, an adaptation of the screenplay by Giancarlo Abrahan for the 2015 film (My Full Review)

Notable Performances:

Jonathan Tadioan, Lhorvie Nuevo, Toni Go and Marco Viana ("Kisapmata"), Delphine Buencamino and Gab Pangilinan ("Quomodo Desolata Es"), Joji Lorenzo, Agot Isidro, Elijah Canlas and Benedix Ramos ("Dagitab"), Martin del Rosario, Elora Espano and Denise Esteban ("Anino sa Likod ng Buwan") (My Full Review), Martha Comia, Matel Patayon and Via Antonio ("Para Kay B"), Andoy Ranay ("13th of September") (My Full Review), Miren Alvarez-Fabregas, Joseph dela Cruz and Pickles Leonidas ("Sopranong Kalbo") (My Full Review), Missy Maramara ("Kaliwaan") (My Full Review)

Memorable Technical Aspects:

Set design of "Kisapmata," Choreography and set design of "Quomodo Desolata Es," Costume design and make-up of "13th of September,"  Set design and costume designs of "Sintang Dalisay" (My Full Review)

IV. PLAYS - NOT IN FILIPINO

BEST: ART (Repertory Ph ilippines) (My Full Review)

Serge (Martin Sarreal) bought a painting completely done in white paint with diagonal strokes for 2 hundred thousand francs. His very good friend Marc (Freddy Sawyer) appalled when he saw it, calling it frankly "a piece of white s**t." Serge took offense that Marc was questioning his appreciation for art. This argument escalated to more serious personal insults, rocking their 15 year-old friendship as it had never been before. Meanwhile, their common friend Yvan (Brian Sy) was in the thick of planning his wedding.

Director Victor Lirio imbued this production an air of sophisticated British posh-ness. This atmosphere was evoked by the immaculate art gallery-like set, created by London-based production designer Miguel Urbino, as enhanced by the lights designed by New York-based Miriam Nilofa Crowe. Having UK actors Sarreal and Sawyer deliver those acerbic lines with their authentic British accents made the play's sarcasm feel drier and bite deeper. The "pissing contest" of their highbrow egos were going through the roof. 

Writer: Yasmina Reza, as translated into English by Christopher Hampton

Director: Victor Lirio

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My 2024 list was posted HERE.

My 2023 list was posted HERE.

My 2019 list was posted HERE. 

My 2018 list was posted HERE. 

My 2017 list was posted HERE. 

My 2016 list was posted HERE. 

My 2015 list was posted HERE.

My 2014 list was posted HERE.

My 2013 list was posted HERE.

Review of JEPROKS THE MUSICAL: Hanopol's Hippie Harmonies

November 29, 2025

Mike Hanopol is a legendary name in the field of Filipino rock music of the 1970s -- as one of the founding members of the Juan de la Cruz band in the early 1970s, and as a solo artist. Playwright Nicanor Pichay collaborated with musical director Jed Balsamo to create a jukebox musical featuring the music composed by Hanopol -- using 22 songs from all phases of his long career. Stage direction is by Frannie Zamora. 

The story of the first act was pretty much straightforward -- about a son's initial act of rebellion against his father. Since he was young, Mico dela Cruz (David Ezra) wanted to be a rock musician. However, his father Paquito (Jett Pangan), a former military officer turned Christian pastor, wanted him to take up Nursing in college instead. However, he chose to join Paulo (Nino Alejandro) and Willy (Jeffrey Hidalgo) in their fledgling rock band Sikatuna.

The second act was a bit more all over the place. This started with Sikatuna's troubled stint in Japan. When they came back to the country, the lives of all three guys all went nowhere. Meanwhile, student activism against the corrupt government was on the rise. Mico got involved when Paz Angeles (Sheila Ferrer), a seemingly immortal girl he liked, disappeared after joining a rally. Mico reached out to her the best way he knew how -- the radio.

This problematic second act had very jarring shifts in mood per scene, from slapstick comedy to shocking violence in the next. The acting styles of the cast also fluctuated from a safe standard level to over-the-top histrionics in others. There was a sex comedy interlude which was funny, but felt completely out of place. The ending was an unexpected plot twist, as the time period you thought the events were happening in was apparently just about to start!

Geneva Cruz played a restless spirit who was visible only to Mico. Her face was bathed in bright light, so Mico called her Liwayway. The other members of the ensemble are: Bella Alejandro,  Arjay Cabael, Vince Conrad, Marilyn Dacumos, Jasper Daguro, Kaloy Estrella, Jerome Ferguson, Chellie Maynes, Victoria Mina, Ariel Perino, Jerecho Ramirez, Mondrian Sampang, Jayce San Rafael, Rai Solomon, and VJ Vera. 

The best performer in the cast is Jett Pangan in the role of Mico's conflicted father. His powerful voice, both speaking and especially in singing, had so much conviction and gravitas. Pangan of course was the front man of his own rock band The Dawn back in the day, and he still has that rock cred now. His best song was Mike Hanopol's legacy hit "Laki sa Layaw" which he sung as the show-stopping final song of Act 1. 

As Mico, David Ezra has a bright and brassy voice that stood out from the others that he sang with. It was his first foray into a rock musical, so this was a big risk for this classical tenor, whose soaring voice I first heard in "Aurelio Sedisyoso" (TP, 2017). He did pull it off for the most part, bad long wig and all. There were a few stray notes here and there, especially in his scenes and duets with an uncharacteristically unsteady Geneva Cruz. 

Nino Alejandro and Jeffrey Hidalgo mainly play comic relief characters. Their feathers did get ruffled in Act 2, which led to unexpected profane utterances. As a trio, Sikatuna performed a number of Hanopol songs which were familiar even to casual 70s OPM radio listeners, like "Umiikot-ikot," "Buhay Musikero," and the Juan de la Cruz anthem "Himig Natin," which was the final song of Act 2, before segueing out of the play into the encore numbers.

It was in this encore part that more popular Hanopol hits came out, like the hits of 80s boy band Hagibis, like "Legs" (by Cruz and Ferrer) and "Katawan" (by the male ensemble). This was followed by "Mr. Kenkoy" by Alejandro and Hidalgo, and "No Touch" by Ezra and Pangan. The whole cast then sang a rousing version of "Laki sa Layaw" over the final curtain call, with the whole audience up and dancing along. As a surprise bonus, Mike Hanopol himself also joined the happy cast on stage.

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"Jeproks: The Musical" ran from November 20 to 29, 2025 at the GSIS Theater. 

Arete: Review of SI FAUST: A Diabolical Deal

November 22, 2025

"Faust," a 19th century tragic play in verse written by Johannes Wolfgang von Goethe is considered the greatest work in German literature. The story was about a desperate man named Faust who made a deal with a devil figure named Mephistopheles. Mephistopheles will let Faust experience heaven here on earth. But in exchange, Faust agreed that his soul will follow Mephistopheles straight into hell later during his afterlife. 

I only had a general idea of that plot, but not the details. This is the first time that I am actually watching this classic performed on a stage. However, this won't just be a regular straight play. Arete has staged this rock opera version of "Faust" as conceptualized by director Nelsito Gomez, with Basti Artadi, charismatic frontman of 1990s Filipino rock band Wolfgang (on their 30th anniversary this year), whose songs (English and Filipino) are used to tell the story. 

I have to confess that I am not at all familiar with much of Wolfgang's music, so I went into this show not recognizing any of the tunes nor the lyrics. However, the live rock band and the powerful vocalists performing this metallic music created a loud, vibrant wall of sound that really enveloped every corner of the entire Doreen Black Box theater. This music was so strong it held everyone in the audience entranced and focused on the stage.

Lyrics notwithstanding, we do get the general run of the story, thanks to the context clues of Nelsito Gomez's direction, as well as clues from the acting of the cast -- Joseton Vergel de Dios as Faust, Maita Ponce as Mephistopheles, Shaira Opsimar as Marga, the country lass he fell in love with, Joshua Cabiladas as her brother Tiño, and Matel Patayon as Tiño's wife, with the ensemble MC Dela Cruz, Jam Binay, JV Fulgencio, Thor Ganchero, and Iya Villanueva. 

The two leads -- Joseton Vergel de Dios and Maita Ponce -- were both new to me, but what exciting revelations they were as actors and rock singers. There may have been hints here and there that he was a stage neophyte, Vergel de Dios was naturally charismatic as the young, vital post-transformation Faust. Ponce was an electrifying stage presence with the spunk, confidence and rock-star attitude required for the deceitful Mephistopheles role. 

They had quite a number of duets throughout the show, and they sure can wail them out. The most remarkable of them all was "I.O.U" in the second act, when Mephistopheles ("I own you") was collecting on Faust's debt ("I owe you"). It would not be a stretch to imagine that this was the song that gave Nelsito Gomez the idea to utilize Wolfgang songs to tell the story of Faust. The sheer coincidence of the lyrical contents was just too fortuitous to ignore. 

Shaira Opsimar is the best known vocal powerhouse of the cast for me. She had recently won the Gawad Buhay award for Best Lead Actress in a musical for PETA's "Walang Aray." Here she actually went beyond the sweet and smooth musical theater belting she is known for, taking a risk to nail a grittier growling rock-style belting, especially in her deeply despondent emotional interpretation of her final climactic song "Halik ni Hudas." 

I've seen Joshua Cabiladas in a number of musicals before, from "Ako si Josephine" (Cornerstone, 2016) to "Side Show" (Sandbox, 2025). The two songs here are the toughest singing vocals I've heard him do so far -- "Sandata" and "Tulisan." I first saw Matel Patayon onstage in "Grace" (Encore, 2024) in a small, non-singing role. When she started to sing "Mata ng Diyos" with Opsimar, her singing voice turned out to be so solid and rich.

Sarah Facuri's set was a huge rectangular backdrop which had various moving panels opening and closing to change the look of the stage. Jethro Nibaten opened the show with a lighting design representing Heaven, then going through various hues in between, and ending with a deep shade of red to represent Hell. Joyce Garcia's video and projection design filled up the blank slate of Facuri's wall, at times with images of the actors themselves. 

Incredibly, this show was totally sung through, with no spoken dialogue. The entire story was only being told by the lyrics of the songs. If you don't know the lyrics or do not understand the words as sung live, you may not fully get how well the details were being told by the lyrics in specific parts of the show. Then again, nitpicking the lyrics isn't really the point. This immersive show is more about experiencing the hard rocking music and electric performances as a whole. Allow yourself to be absorbed in. 

Opsimar, Ponce, Dela Cruz, Vergel de Dios, Cabiladas at the curtain call

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"Si Faust" runs from November 14 to 23, 2025 at the Doreen Black Box Theater of the Arete in the Ateneo de Manila campus in Quezon City. Play runs about 1 hour and 40 minutes, with a 15 minute intermission. Ticket prices at 1,999 and P999 via Helixpay (LINK). 

Because I arrived a little late, I was given the last seat on what seemed to be the final row of the Premium seats near the theater door. These seats seemed to be all on the same level, so the view from the back is blocked by the heads of the people seated in front. I can see actors fine when they were standing up. However, when they were crouched, sitting or lying on the floor, we could barely see any action at all, which was a pity. 

DUP: Review of PARA KAY TONY: TUNGO SA GININTUANG ALAALA: Justifying Justice

November 15, 2025

Dulaang Unibersidad ng Pilipinas (or Dulaang UP) was founded by Prof. Antonio "Tony" Mabesa in 1976. Next year 2026 is already its 50th anniversary, so they are already building up to that milestone celebration with this current season. For the first offering of its 48th Season (DUP was set back one season becausw of the pandemic), they pay tribute to Sir Tony by staging a twin-bill of two hour-long one-act plays, both of which tackled stories about the bane of oppressive authority. 

The first play is "Kalahating Oras sa Isang Kumbento" written in 1934 by the playwright for whom the main theater of Dulaang UP at Palma Hall was named after -- Wilfrido Ma. Guerrero. They used the Filipino translation by Lilia F. Antonio. It was first staged by the UP Dramatics Club (precursor of DUP) way back January 15, 1938. This new staging was directed by UP Theatre Arts student Lloyd Sarmiento Uy, guided by his mentor-director Erika Estacio. 

A troubled teenage student Yolanda was called to report to the the office of the Mother Superior. She was being expelling for disruptive conduct unbecoming of a student of her school. The older nun would not budge on her decision anymore whatever Yolanda said. A more compassionate younger nun Sister Vitalis was trying to argue on Yolanda's behalf, but the senior nun had already called Yolanda's father to pick her up. 

Sheryll Ceasico 

as the intimidating Madre Superyora

The atmosphere of this play was so tense so that the whole audience was held rapt in full attention, hanging on to every word spoken by the women onstage. Rona Lynne captured Yolanda's confusion and inner conflicts.  Sheryll Ceasico played Mother Superior with unforgiving narrow-minded conservatism. Paulyn Abando exuded kindness as Sister Vitalis, while Gena Suelto projected carelessness as Sister Teresa.

After a 10-minute intermission, the setting was a fiesta.  Two actors (Francheska Andaya and Akin Cullarin) came out to teach the audience how to sing a couple of verses of a song that they will ask us to sing during the show. There was a five-piece band there to play the musical score and songs live.  While the first play only had the stage lit up with audience area pitch dark, this second had all the house lights on brightly the whole time. 

The second play is "May Katwiran ang Katwiran," written by National Artist for Literature and Theater Rolando Tinio in 1972. This current first-ever staging by DUP is directed by UP Theatre Arts student MJ Briones, with mentor-director Charles Yee. The stage represented the various settings of the story as Senyor and his Kasama make their way to the other side of the mountain. They start from the town proper, to the middle of the sea, and finally, in the middle to a forest where bandits roam. 

Daniel Duplon and Kerr Allen

as Kasama and Senyor

En route, Senyor and Kasama would discuss before making important decisions, like how to share their food rations, how to survive a sinking raft, and how to avoid getting the attention of bandits. Even if the approach was comedy, this play was tackling an important concept of social justice. When life and death decisions were being made in society, rules were invariably be defined by the rich to favor the rich, leaving the poor to accept scraps.

Kerr Allen, with his fair skin and mestizo looks, was perfectly cast as the wily Senyor. On the other hand, Daniel Duplon deglamorized himself with unkempt hair and a slouch to make a convincing Kasama. The dynamic interaction between these two went back and forth for more than 15 acts, each time demonstrating how social justice swung unfairly. Every line was witty yet thought-provoking, steadily building-up until it reached a suspenseful climax, with the ensemble Andaya, Cullarin, Pat Ebro, Camille Fabian and Julianne Quimio as bandits.  

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"Para Kay Tony: Tungo sa Ginintuang Alaala" runs from November 14 to 30, 2025 at the IBG-KAL Theater, UP Diliman, Quezon City. Regular tickets cost P1000 via Ticketmelon (LINK), or via Google Form (LINK). 

TP: Review of GREGORIA LAKAMBINI: A PINAY POP MUSICAL: A Heady Her-story

November 14, 2025

We know Gregoria "Oryang" de Jesus as the wife of Andres Bonifacio. But beyond that, we do not know much about her anymore. To remedy this, November 2025 seems to be Gregoria de Jesus memorial month. The film "Lakambini: Gregoria de Jesus" by Arjanmar Rebeta opened last November 5. And now, just one week later, "Gregoria Lakambini," a new stage musical by Tanghalang Pilipino opens tonight at the Tanghalang Ignacio Gimenez, CCP Complex.  

Both film and stage musical touch basically the same highlights of Oryang's life -- her parents' dislike of Andres, her letter of appeal to the gobernadorcillo, their Katipunan wedding, the Tejeros Convention, Agapito Bonzon, Bonifacio's arrest and execution, Julio Nakpil. However, the musical added segments about how Oryang first met Andres at Teatro Porvenir, Oryang's only son Juan Nakpil, and her last encounter with Emilio Aguinaldo. 

Even if the topics were the same, the treatment of the material was definitely different. The title of this new production proudly announces that it is "A Pinay Pop Musical." and this subtitle immediately brings up a host of exciting expectations about the show. P-pop is the latest phase in the evolution of Original Pilipino Music in the 2020s among the Gen Z. These catchy pop songs have elements of dance, rap and ballads, heavily influenced by the distinctive style of South Korean and Japanese pop idol groups. 

Marynor Madamesila takes her bow

Marynor Madamesila plays the title role of Gregoria de Jesus. Madamesila has steadily been building up her name in the theater industry, recently just playing joint leads in PETA's "Walang Aray," Full House's "Buruguduy..." and Sandbox Collective's "Side Show." However, this solo lead role may just be her biggest breakthrough. She had songs that ranged from subtle melisma to power belting, as well as rapid rapping. She was always at the center of every group dance number and she can certainly nail those complex steps. 

The other six actresses in the cast can all sing, dance and act just as well. They form the Ensemble portraying all the other roles of either gender, as well as the Greek chorus who broke the fourth wall and provided comic commentary along the way. They all get to play one main supporting character: Anya Evangelista as dashing Andres Bonifacio, Sarah Monay as Gregoria's stern father Nicolas, Murline Uddin as lascivious Agapito Banzon, Sofia Sacaguing as earnesr Julio Nakpil, Ynna Rafa as idealistic Juan Nakpil and audience favorite Heart Puyong as jaded Emilio Aguinaldo.  

The triple-threat Ensemble

The book of the musical is by Nicanor Tiongson and Eljay Castro Deldoc, with music by Nica del Rosario and Matthew Chang, arranged by Flip Music Productions. Stage direction is by Delphine Buencamino, who also co-choreographed those fun energetic dances with Jan Matthew Almodovar.  Mark Lorenz designed the set, Earvin Estioco the lighting, JM Jimenez the projections, and Arvy Dimaculangan the sound. Sabrina Basilio was the dramaturg.

The most striking aspect of this production are costume designs of Marco Viana. The cast wore avant-garde costumes fusing period Filipiniana with street punk and cowboy-Western accents. Various little accessories were added to the basic costumes for the actress to transform them from one character to another. Hat color distinguished the members of opposite factions. While looking artistically creative, they also had to be durable and flexible to withstand the dynamic dance moves that the cast had to execute. 

The talented cast and crew

"Gregoria Lakambini: A Pinay Pop Musical" is the only new production in Tanghalang Pilipino's 39th season lineup, previous hit productions "Pingkian: Isang Musikal" and "Mabining Mandirigma: A Steampunk Musical" being the other two -- all about the thoughts and actions of heroes who ignited the Philippine Revolution. By using the current style of P-Pop music, this show's message of nationalism and woman empowerment is specifically targeted to Generation Z. With songs so catchy and dances so fun, this show can definitely do the job. 

It was only their first show that I watched so there were still some notes going astray and some jokes going flat. Nevertheless, the 2-hour show (with no intermission) was very entertaining overall, and the energy of the seven ladies never sagged a bit even if they were all practically onstage the whole time. The lustful cheers, boisterous laughter and hearty applause of the audience during and after the show were proof positive of their successful connection. 

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"Gregoria Lakambini: A Pinay Pop Musical" runs from November 14 to December 14, 2025 at the Teatro Ignacio Gimenez, CCP Complex. Get your tickets via Ticketworld (LINK), Ticket2Me (LINK) or by direct selling (LINK). Ticket prices: VIP P2,000 and Regular P1,800.