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. 

Full House: Review of SHREK THE MUSICAL (2025): Odyssey of an Ogre

November 7, 2025

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. 

This musical written by David Lindsay-Abaire with music by Jeanine Tesori was adapted from the 1990 children's book "Shrek!" by William Steig, as well as the 2001 Dreamworks animated feature film "Shrek" (2001). This film version, with voices by Mike Myers, Eddie Murphy and Cameron Diaz, was a well-loved box-office hit that had since spawned its own film franchise of four films, now with a fifth one currently in production planned for a 2027 release. 

The first time "Shrek the Musical" was staged locally was back in 2014 by Atlantis Theatrical Production under the direction of the late Bobby Garcia. I was able to watch this show with my whole family at the Meralco Theater, and we enjoyed it very much (MY REVIEW).  Franz Imperial led the cast as Shrek, Sheila Valderrama-Martinez as Fiona, Nyoy Volante as Donkey, Carla Guevara-Laforteza as Dragon, and Jett Pangan as Farquaad. 

Most people who will watch this musical are already familiar with the story, so the magic lay in how this story will unfold onstage. The stage of the Newport Performing Arts Theater is very expansive, so the stage director will have to know how to "think big". With the last three enormous Full House productions -- "Ang Huling El Bimbo" (2018), "Buruguduy..." (2024), and "Delia D." (2025) -- in his resume, director Dexter Santos is certainly the man for this job.

In cooperation with his talented crew, Santos really knew how to fill that huge stage up with colorful spectacle. The main sets were Shrek's swampy abode deep in the forest to Lord Farquaad's grand palace in the city.  However, the main highlight set piece was Dragon herself, executed as a gigantic puppet which totally dominated the stage when she's on -- whether lurking in her dark lair, or breaking through stained glass of the cathedral.

Santos also used the audience area itself to involve the viewers more into the fairy tale action more. There was one long scene when Shrek and Donkey made their way through the audience, engaging with kids along the way. They were joined by dancers carrying lit-up giant sunflowers, as well as forest animals (rendered via moving puppets a la "The Lion King"), plus a cameo appearance by a future adjacent character Puss in Boots. 

The costume designer and the make-up artists also had the challenge to make these very well-known animated characters come to life convincingly. Shrek had a whole head and face mask and fat body suit. Fiona had her green dress and red braids, but also an ogre nose and hands when the time comes. Donkey wore a furry body suit with wide hips and jaunty long ears. Farquaad's costume had to create the illusion those tiny legs of his can actually move. 

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. Having played alien plant monster Audrey II before in "Little Shop of Horrors" surely helped vocal powerhouse Julia Serad portray another larger-than-life creature -- the Dragon. 

The original songs are mostly sprightly and fun, with catchy melodies, even if there was no clear memorable stand out that will stick. Theater kids will recognize iconic bits from other Broadway musicals like "Wicked" and "Dreamgirls" incorporated into some songs, and cheer. For the finale, the whole cast sang The Monkee's 1966 #1 hit "I'm a Believer" as Shrek and Fiona's wedding song, and surely that tune will have you merrily humming it all the way home.

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"Shrek the Musical" runs from October 31 to December 13, 2025 at the Newport Performing Arts Theater . Tickets are available at Ticketworld, Newport World Resorts Box Office, and Helixpay: P4,500 (SVIP), P4,000 (VIP), P3,000 (Gold), P2,000 (Silver), and P1,500 (Bronze).

Stages: Review of KALIWAAN: Pinter in Pilipino

August 25, 2025

Two years after they last saw each other, Emma (Missy Maramara) and Jerry (Nor Domingo) met up for a talk. Emma told him that her husband Robert (Ron Capinding) confessed to his multiple past extramarital affairs. Emma and Jerry had a romantic affair behind Robert's back for seven years, of which Jerry was very proud they were able to hide very well from both their spouses while it lasted, or at least, that's what he thought. 

This was the first of nine scenes about the twisty romantic relationships between married couple, book publisher Robert and his wife Emma, and their supposed good friend, literary agent Jerry, who was himself also married. The scenes were set in their houses, their love nest flat, and various places where the three met in various permutations. Told in reverse, the final scene was about how Jerry and Emma's affair began nine years ago.

It was only last year when I first saw the original English version "Betrayal" staged by Repertory Philippines. This was a fancy production with an immaculate white stage serving as background to the immoral amoral shenanigans of the three characters. To be authentic to the London setting, Robert, Emma and Jerry were played by three actual Fil-British actors with genuine British accents, with a Fil-British director Victor Lirio to boot. 

In contrast, this present staging by Stages and Music Artes was as loy-key, bare-bones and stripped down a version of Pinter's play as ever. We know it was still set in London as what the initial graphic projection showed. However, once we hear those lines delivered in crisp Filipino, as translated by Guelan Luarca, it was as if they were just all here in Manila. Just shows how marital infidelity can happen in any city in any country around the world.

There is no doubting the talent of this cast, as Missy Maramara, Nor Domingo and Ron Capinding, plus director Loy Arcenas, are all tried and true veterans of their craft. Luarca's prodigious talent in writing and translating into Filipino has been recognized with various awards. The ingredients of the perfect brew were all there, but unfortunately, I feel that this Filipino adaptation was not as compelling as I was expecting, and I am not sure why. 

I felt there was a lack of electricity between Maramara and her two leading men. I thought Maramara was a pitch-perfect embodiment of Emma. However, I also felt that Domingo and Capinding were miscast as the prideful philanderer and cuckolded husband. They both seemed very straight-laced, lacking that roguish rascally energy. It could be that the subtlety of their acting did not reach the row where I was seated. Since what I missed was intangible and unquantifiable, other viewers may appreciate this play differently than I did. 

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"Kaliwaan" runs from August 22 to August 31, 2025 at The Mirror Studios, 5th floor, SJG Building, 8463 Kalayaan Ave, Makati. Showtimes at 8pm on Fridays, 5 pm and 8 pm on Saturdays, 3pm and 7pm on Sundays. Ticket prices: Platinum P1250, Gold P1100, Silver P950 and Bronze P800. To buy tickets, click on this LINK. 

Sandbox: Review of SIDE SHOW (2025): Emancipation or Exploitation?

August 17, 2025

Siamese twins Daisy and Violet Hilton were the star attractions of the circus sideshow owned by the Boss. One day, musician Buddy Foster invited his friend Terry Connor, a talent scout for the Orpheum Circuit, to go check out the twin's act. Impressed with what he saw and heard, Terry paid the Boss extra to interview the girls more. He believed that they can do much better as a novelty singing act on the vaudeville circuit than where they were now. 

I had watched this musical "Side Show" (book and lyrics by Bill Russell and music by Henry Krieger) when it was staged by Atlantis in 2018 (MY REVIEW), so I already know that it was based on life of real pair of Siamese twins. I now learned that the version I watched back then was that of the 2014 Broadway Revival. This version to be staged by the Sandbox Collective this year was the original 1997 Broadway Production version, preferred by director Toff de Venecia for being completely sung through, with a darker, more political edge.

Krystal Kane and Molly Langley

I noted that only 10 full-length songs were held over from this original to the revival  -- "Come Look at the Freaks," "Like Everyone Else," "The Devil You Know," "Say Goodbye to the Freak Show," "Who Will Love Me as I Am?," "Leave Me Alone," "Private Conversation," "One Plus One Equals Three," "You Should Be Loved" and "I Will Never Leave You."  Those who had seen the revival will see and hear a lot of new songs here, like that eerie "Tunnel of Love." 

De Venecia also used some modern theater techniques here, notably the use of live cameras to project images taken on or off stage on to screens behind both sides of the bleachers. This was best used in the song "Leave Me Alone" where the twins were arguing about men in the makeup area backstage, but we see them singing live on the screens. This must have been how Rachel Zegler's "Don't Cry for Me Argentina" number in the latest "Evita" played out. 

Rob Atadero as Terry

The Hilton twins I caught was the pair of Krystal Kane and Molly Langley. Both ladies were vocal powerhouses, but their harmonic blending was melodious. Kane captured Daisy ambitious streak, as Langley caught Violet romantic side. They looked much younger than their alternates Marynor Madamesila and Tanya Manalang-Atadero, so they seemed more vulnerable against the men exploiting them, making us feel more protective for them. 

Reb Atadero Terry had a slimy charisma, while Tim Pavino' Buddy had us fooled. (CJ Novato and Vien King alternate as Terry and Buddy respectively. Jon Santos' Boss was intimidating and ruthless. (He also played the cameraman as well as a film producer.)  Even as early reviews pegged Marvin Ong as the actor to watch for Jake, alternate Joshua Cabiladas was just as powerful in his portrayal of the protective Cannibal King, especially the when he ended his solo number "You Should Be Loved" with dramatic flourish. 

The ensemble included Arion Sanchez, Chan Rabutazo, Fay Castro, Daniel Wesley, Ian Hermogenes, Mikee Baskiñas, Pamela Imperial, Pappel, Raflesia Bravo, Red Nuestro, Reine Paisley, and Rhap Salazar. The set was designed by Mike Dalacat, enhanced by the lights designed by Gabo Tolentino. The glamourous gowns of the twins and the costumes of the freaks were designed by Carlos Siongco. 

Joshua Cabiladas as Jake

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The Sandbox Collective's production of "Side Show" runs at the PowerMac Center Blackbox Theater, Centris, Makati from July 26 to August 17, 2025, with shows on Thursdays and Fridays at 8 pm, Saturdays and Sundays, 3 pm and 7:30 pm. Tocket prices at P2,900 (VIP), P2,700 (Premium) and P2,500 (Regular). The show runs 2 hours and a half, with a 15 minute intermission. 

Update: TWO MORE SHOWS on August 24, at 3 pm and 7:30 pm! Tickets at Ticket2Me at this LINK. 

Arete: Review of QUOMODO DESOLATA ES? ISANG DALAMHATI: Ghosts of Glory Gone

August 16, 2025

It was October 1941. The old Marasigan mansion in Intramuros has seen better days. Spinster sisters Candida and Paula were left to take care of the house and their elderly father Don Lorenzo, and they were struggling financially to pay the bills. Their well-off elder brother Manolo and Pepang preferred to just sell the house. Meanwhile, the last painting of Don Lorenzo caught the attention of critics, journalists and art buyers alike. 

If there was a poll for the most famous play written by a Filipino author, it is very likely that "A Portrait of the Artist as Filipino" written by National Artist for Literature Nick Joaquin in 1950 will be in that list. My introduction to it was the 1965 film directed by National Artist for Film Lamberto V. Avellana.  I then saw it as a play staged by Repertory Philippines in 2009. Both of these used the original English version of Joaquin. 

In 2017, there was a filmed musical adaptation in Filipino entitled "Ang Larawan," first translated by National Artist for Theater and Literature Rolando Tinio, and adapted into songs and set into music by National Artist for Music Ryan Cayabyab in 1997. This latest adaptation was based on a Filipino translation by Jerry Respeto, and reinterpreted as a Greek tragedy for the stage by director Guelan Luarca with choreography by Ronelson Yadao. 

We see the radical difference of Luarca's style right In the opening scene. When family friend Bitoy Camacho (Roldine Ebrada) was describing the glory days of the Marasigan household, he had eight white-faced "ghosts" behind him serving as Greek chorus telling the story as flashbacks of their memories right along with him. From these ghosts emerged elder siblings Manolo (Jethro Tenorio) and Pepang (Maita Ponce), the assertive Doña Upeng (Meyanne Plamenio-Cortezano) and poet turned senator, Don Perico (an outstanding Brian Sy). 

Delphine Buencamino was the perfect embodiment of Candida. She was resourceful and had a sense of humor, but the continuous cruelty of their fate had made her jaded and exhausted with life. Gab Pangilinan's Paula initially felt too young to worry about being called a spinster. However, later on this perceived youth would complement Paula's seeming impulsiveness and naivete. Their closeness as sisters felt very genuine, making us sympathize sincerely. 

Aside from Candida, Paula and Bitoy, the only other character who was not a ghost was Tony Javier, a student who was renting a room at the Marasigan house.  He was working nights at the vaudeville as a piano player while he studied to be a lawyer during the day. As Tony was typically played by debonair actors like Ricky Davao or Paulo Avelino, Vino Mabalot felt miscast because his Tony was immature, with no worldly sophistication nor sense of danger.

The highlight of D Cortezano's set and props was the capiz backdrop. Shadows of characters behind it can be seen, which was how the rat catching scene was executed among others, aided by Jethro Nibaten's lighting. Capiz windows would also "fall" all around during the bombing of Intramuros scene, making us all feel caved in. Ali Figueroa's costume design had period flair, with those of ghosts more attention-catching than those of the living. John Robert Yam (sound design) and Matthew Chang (music) provided the eerie aural atmosphere. 

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"Quomodo Desolata Es? Isang Dalamhati" has a limited 2-weekend run only, playing only 11 shows on August 8, 14, and 15 at 7:30 PM, and on August 9, 10, 16, and 17 at 2:30 PM and 7:30 PM, at the Hyundai Hall, Areté, Ateneo de Manila University. Tickets are priced at P1,499 (Premium) and P999 (Regular). 

BGOT: Review of 13TH OF SEPTEMBER (2025): The Madness of Mary

August 10, 2025

Three drag queens in all-white outfits, complete with corsets and veils, strut out on stage on their white high-heeled boots, while pushing their clothes racks around. The one in the center identified herself Mary Girard (Andoy Ranay), an abused woman who was in deep mental distress for her failure to conceive a child. The other two women taunting Mary were Polly and Sally (Drew Espenocilla and Lao Rodriguez), mistresses of Mary's husband Stephen. 

Mary was eventually confined in a mental hospital in 1790. Her days were a constant barrage of mental torment from her past (her uncaring parents), her present (the inhospitable asylum staff), and even her future (her naughty unborn children), all of them still played by the two Furies around her. The harshest nightmare of them all was Stephen himself (also Rodriguez), who broke what's left of Mary's spirit with his every cruel and hurtful word.

"The Insanity of Mary Girard " by Lanie Robertson, is a one-act play based on the real-life story of Mary Lum Girard, who was wed at a tender age to a rich husband who would later have her committed for lunacy. Mary eventually did give birth to a baby of uncertain paternity and who did not live long. Eljay Castro Deldoc translated the text into Filipino and, along with director Riki Benedicto, reimagined the play using only two actors to play all the Furies. 

The first time I had seen this show was back in 2022 at the Metropolitan Theater, starring Lao Rodriguez as Mary, with Marco Calilao and Norman Penaflorida as his Furies. That time, the play was en route to a theater festival in Esslingen, Germany. Before that, this play was first staged locally in 2019 featuring Adore Dominguez, Calilao and Rodriguez, before it went to a theater festival in Quebec, Canada that year. Espenocilla was the dramaturg that time. 

This play is once again bound for another theater festival, this time in Monaco. Compared to the 2022 version I saw, this new one had evolved with a much stronger impact due to the improved movement choreography and enhanced graphic projections. Andoy Ranay's powerful portrayal of Mary's unstable mind was the solid centerpiece that kept everything else fully grounded. His climactic dance twirling cloth while bathed in orange lighting was a mesmerizing highlight. 

The bombastic curtain call! 

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The rest of the crew includes BOGT producer Katreen Dela Cruz (production and stage manager), JayLo Conanan (production designer), Roldan Lozano (lighting designer), and Ces Valera (projection designer). 

The special fundraising send-off show of "13th of September" was held on 10 August 2025, Sunday, at 3pm and 7pm, at the Tanghalang Ignacio Gimenez, CCP Complex. Ticket prices at P1000 and P800. 

Teatro Meron: Review of SOPRANONG KALBO: Inane Interchange?

August 9, 2025

As the clock was striking 9, Mr. and Mrs. Santos (Joel Macaventa, Miren Alvarez-Fabregas) were sitting together in their living room. Mrs. Santos was taking account of the food that their maid Marie (Gold Soon) prepared. All the while, Mr. Santos was reading his newspaper, only grunting wordlessly in response to his wife's petty observations and comments. 

Later, their friends, Mr. and Mrs. Martin (Joseph Dela Cruz, Pickles Leonidas) dropped in the Santos house for an unexpected visit. Together, they engaged in more silly exchanges of ideas, arguing on topics like, "Is there someone at the door when the doorbell rings?" The chief fireman (Yan Yuzon) also came by to ask if there was a fire in their house. 

For its maiden offering, nascent theater company Teatro Meron chose to stage "Sopranong Kalbo," the Filipino adaptation of Eugène Ionesco's 1950 play "The Bald Soprano," as translated by the late National Artist for Theater and Literature Rolando S. Tinio. The artists of Teatro Meron, led by director Ron Capinding, chose to stage this personal favorite of their late mentor Dr. Ricky Abad, whose birthday will be celebrated on August 10.

"The Bald Soprano" (or "La Cantatrice chauve" in original French) is notable because since 1957, it has been continuously showing at the Théâtre de la Huchette, holding the world record for the longest time a play had been continually playing in one theater. It was considered a classic in the Theater of the Absurd, plays marked by illogical or irrational lines that play around with the philosophy of existentialism, very tough to pull off on stage.

I have to admit that this was not an easy play to get into. The pointless conversations did not lead to any important plot points at all. There was a part when the characters challenged each other in some sort of a storytelling showdown, none of which made any sense. They got some audience members on stage for some interactive gags, then later go around the audience area telling rapid-fire "jokes", which could either be funny or cringe-y. 

Having serious thespians (whom I've seen do classic Greek tragedies before) portraying these absurd characters subliminally suggests that there was more about this play than the inanities we see. This challenges the audience to look for the deeper substance that underpins the craziness on stage. For me, everything made perfect sense only by the final scene, which brought the whole play full circle even when the lines were in literal gibberish. 

Leonidas, Dela Cruz, Alvarez-Fabregas, Macaventa, Soon and Yuzon

at the curtain call

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The rest of the creative crew of this production includes: Tata Tuviera (production designer), Ara Fernando (makeup designer), Zak Joaquin Capinding (sound designer), D Cortezano (lighting designer), EJ Ramos (assistant lighting designer), Jo Aguilar (graphic designer), and Reamur A. David (photographer).

The show runs on August 8 at 8 PM, August 9 at 2 PM, 5 PM, and 8 PM, and August 10 at 2 PM and 5 PM, at the Rizal Mini Theater, Ateneo de Manila University. Tickets are priced at P800 (general audience), P720 (TA alumni, senior citizens, PWDs), and P700 (students of any level from any school), and may be purchased via the group’s Google Form.