Wednesday, January 21, 2026

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. 


Wednesday, January 14, 2026

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 

******** SPOILER ALERT ********

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. 



Friday, January 2, 2026

My Yearend Roundup: THE BEST OF PHILIPPINE THEATER 2025

January 3, 2026

For the year 2025, I had seen and written about 40 theater productions: 11 musicals (6 in Filipino, 5 in English), 10 full-length plays (9 in Filipino, only 1 in English), and 19 one-act plays (12 in Virgin Labfest, 4 in 2 Dulaang UP double-headers, 3 from a Philstagers set). 

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.