Encore: Review of MIRANDA & YOLANDA: Peeling Political Pretenses

April 12, 2026

Encore Theater is a company led by veteran theater practitioners Stella Cañete and Juliene Mendoza. Their maiden production in 2024 was "Grace," which turned out to be the final play written by outstanding playwright Floy Quintos, as he passed away unexpectedly one month before the show premiered. Encore chose to continue paying tribute to Quintos for its second project, presenting "Miranda & Yolanda" -- a twin-bill of Quintos' Palanca-winning one-act plays, both about what lay behind the masks that politicians wear.  

The first play, "Evening at the Opera" debuted at the Virgin Labfest in 2011. It was set in the marital bedroom of tough-guy Governor Bingo Beloto and his elegant classy wife Miranda. The power couple was having a tensely escalating argument before the curtains rise on Miranda's big project -- a P20M production of Italian opera "Cavalleria Rusticana" -- that night in the provincial capitol. All this was happening in the presence of Miranda's Mamang. 

Playing the same character again after 15 years, maturity gave Ana Abad Santos's present Miranda a heightened sense of jadedness and pent-up rage that radiated with extraordinary intensity. Watching Joshua Cabiladas's formidable portrayal of Gov. Bingo, with his uncouth manner, violent streak and foul tongue, now brings a different politician in audience's minds than back in 2011. Frances Makil-Ignacio's Mamang chimed in occasionally with her catty one-liners, enhanced by her character's special nature. 

Ms. Ana Abad Santos

The second play, "Ang Kalungkutan ng Mga Reyna" also debuted at the Virgin Labfest, in 2008. This was set in the presidential palace, the day after Pres. Yolanda Cadiz has declared martial law. One of her first acts was to summon Marcel de Alba, renowned hairstylist of various European and Asian monarchs, as she wanted him to change her style from dowdy to classy. That physical transformation was only the tip of the iceberg she was conjuring. 

Watching Shamaine Centenera-Buencamino act on stage is always a thoroughly involving experience, and this was no different. She may be laughing, but her Yolanda emanated a uncomfortable sense of danger and madness. Yolanda's apple-cut look and over-the-top style may evoke comparisons to Eugene Domingo, but take note, this play came before the first "Kimmy Dora" film (2009), so Ms. Buencamino actually did these things first in 2008. 

Ms. Shamaine Centenera-Buencamino 

With his electric stage presence and his colorful clothes, Topper Fabregas's Marcel de Alba was a funny and fabulous queen of his own, with those subtle uncertain hints of doubt and / or loyalty.  Jules dela Paz was delightful as the Minister of State with the crooked command of English. Red Nuestro, Alfritz Blanch and Jon Abella played musical palace ministers whose main duty was to sing national hymn "Somewhere Over the Rainbow" in harmony. 

Director Dexter Martinez Santos heads the artistic team, composed of Mitoy Sta. Ana (Production Design), John Batalla (Lighting Designer), Steven Tansiongco (Graphic and Video Designer), Arvy Dimaculangan (Music and Sound Designer), Mikko Angeles (Assistant Director), Marvin Olaes (Dramaturg and Publicity Manager), Davidson Oliveros (Dramaturg and Publicity Manager), and Meliton Roxas, Jr. (Technical Director).

But above all, this is all about Floy Quintos and his incisive social commentary that remains as timely and significant today as it was more than a decade or two ago. His wordplay is truly unmatched in these theater pieces about politics. They're all undeniably funny with his biting wit, yet at the same time, they were dead serious in his intent to paint the prevailing political landscape and explore its ramifications in our society. 

As a fan of his works ever since I watched "Collection" at UP back in 2013, I made sure I watched every new play Sir Floy released after that. I was deeply saddened by Sir Floy's passing two years ago as we have lost an extraordinary literary talent. I was very happy when Encore announced this revival of two of his earlier works that I have only heard about. I hope to see more of these revivals as his loyal fans, as well as the current generation still discovering him, need to see his plays as he intended them -- on the stage. 

Miranda & Yolanda together

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MIRANDA AND YOLANDA runs every Saturday and Sunday at 2:00 PM and 7:00 PM from April 11 to May 3, 2026 at the Power Mac Center Spotlight Blackbox Theater, Ayala Malls Circuit, Makati City. The show will runs for approximately 2 hours with a 15-minute intermission between the two one-act plays. Tickets available on Ticket2Me, prices P2500 for VIP, P2000 for Front (floor level) and P1500 for Sides (elevated bleachers). 

PETA: Review of ENDO (2026): Jobs in Jeopardy

April 9, 2026

Leo (Royce Cabrera, alternate Esteban Mara) worked as a food delivery boy, a scooter taxi driver, and a massage therapist. One day, he bought shoes from an online seller named Tanya (Jasmine Curtis-Smith, alternate Rissey Reyes-Robinson), a nursing graduate who also worked as a promodiser in the mall and tutored English for Koreans. He was  planning to give these shoes to his girlfriend Candy (Iana Bernardez, alternate Kate Alejandrino), who was planning to quit her current corporate job to become a free-lance online influencer. 

The original "Endo" was an indie film written and directed by Jade Castro, which premiered at the Cinemalaya filmfest in 2007. The title "Endo" was slang used by contractual workers on the last day of their job, short for "end of contract." After serving their six-month contract, they need to look for another job again. In that film, the jobs Leo and Tanya had were all based in actual department stores, groceries or fast-food restaurants.

When writer Liza Magtoto and dramaturg Eric Villanueva adapted it for the stage this year, she had to update the jobs to include current online-based jobs and businesses. The original meaning of the slang term "Endo" may not even be applied to these new jobs anymore, as they are not really limited by contracts anymore. However, like before, these jobs remain to be unstable and unfair for the most part, with no promise of job security. 

For the audience to fully feel the extreme stress that these characters are living through, director Melvin Lee and production designer D Cortezano gave the stage an unstable floor for the actors to move on. The most blinding lights of lighting designer David Esguerra were the orange ones that emanated from beneath that movable stage floor when it lifted up. Above the stage Cortezano hung multiple strands of rope that gave a stifling atmosphere of gloom.  

Lee expanded the emotional flow of the characters by making them express their angst in dance, as choreographed by Christine Crame. Dance reflected the chaos in the streets, as well as the bustle of their daily hustles. And there were those pas de deux between Leo and Tanya that represent their romantic trysts. While the first one with the big flowing cloth was eye-catching, the subsequent ones can feel repetitive, slowing down the story. 

The best reason to go watch this play is to see rare theatrical forays of its movie star cast. As Leo, Royce Cabrera possessed a strong, dynamic stage presence. He stood out from the ensemble with this leading man looks and energetic performance. As Tanya, Jasmine Curtis-Smith was simply riveting with her beauty and sweet demeanor. She definitely could sell us anything with her smile and her flawless "jologs" Tagalog spiels. 

As Candy, Iana Bernardez made the most of what was basically a thankless role of a third wheel. From the ensemble, Carlon Matobato played Leo's helpless ailing father and Denmark Brinces played his difficult younger brother. Raphne Catorse played Leo's best friend who was always ready with employment tips. The rest of the ensemble includes Rafflesia Bravo, Kirby Dunnzell, Ekiz Gimenez, Jacinta Pascual, Noelle Polack, Nikki Soriano and Teetin Villanueva.

Aside from social commentary and romance, the story tackled personal problems with work, family and the ex, OFW offers and tough decisions that add to the melodramatic mix. The advanced press preview I watched lasted for almost two hours without an intermission. That length can be felt because of some repetitive elements and the slow pace of the storytelling. Some streamlining may be in order in the second half to add more punch to that ending. 

Bernardez, Cabrera and Curtis-Smith

at their curtain call

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"ENDO" runs from April 10 to May 10, 2026 at the PETA Theater Center in Quezon City. Tickets can be bought via Ticket2Me on this LINK. Prices range from P2700 (Orchestra VIP and Balcony Center Lower), P2500 (Orchestra Center), P2200 (Orchestra Sides), P1600 (Balcony Center Upper and Balcony Sides). 

My review of the original film ENDO (Jade Castro, 2007) is posted HERE.

DUP: Review of ANG KALIITAN NG KASALUKUYAN: The Onus of an OFW

March 29, 2026

Bulan (Sandino Martin) has been working in Dubai for twenty years as a writer and director of government propaganda films. Bulan is already tired of doing this, and longed to return back to the Philippines to finally get to write about things that mean something to him. However, when he broached the topic, his parents (Fermin Villegas, Sheryll Ceasico) would guilt trip him, even though he had already given them a house and a business.

The first act was about Bulan's latest trip back to the country when his parents brought him to their hometown in Nueva Vizcaya to visit relatives he had not seen in years. The highlight of this part was when an uncle brought Bulan to see the grave of his beloved Lola Saling (Marichu Belarmino). This brought him back to a childhood memory of a time he had spent together with her as she was preparing as Hermana Mayor of the Flores de Mayo. 

Sandino Martin as Bulan

The second act was about Bulan when he returned to back to Dubai, with his heart totally not into his work anymore. He went to visit his elder sister (Tess Jamias) who had also been working in Qatar a soft drink company for almost as long as he had already. When he told her his dilemma, she also revealed her own plans. Their conversation was blunt, direct and as honest as close siblings would discuss their problems. Full disclosures always hit hard.

The acting of lead actor Sandino Martin was all-out here, and his gruff voice and intense eye contact spoke of his passion. I have heard him sing in shows like "Manhid" (2015), "Changing Partners" (2016) and "Himala" (2018), so I was not surprised at his range, but the way he was able to pull through his songs here with a hoarse voice was quite impressive, especially Noel Cabangon's "Hanggang Mamatay" at the emotional climax. 

Puppet Batang Bulan 

and his puppeteer Kerr Allen

The rest of the ensemble includes Jojo Cayabyab, Hazel Maranan, Domileo Espejo, and Mitzie Lao, along with current artist-scholars Kerr Allen, Angel Manansala, Raymond Aguilar, Julianne Quimio, Ralph Onrubia, Janae Delos Santos, and Cy Guerrero

Director Arlo Deguzman executed his play as a multi-media presentation. The stage was an all-white J-shaped structure, like a giant slide. The vertical part was used to project graphics and videos to define locations. Using puppetry was a stroke of genius, either the child Bulan in the Lola Saling scene, or the Arab boss in the Dubai video shoot scene.  The exact meaning may not be so clear, but that literal deluge at the end was definitely a memorable finale. 

The Whole Cast at the Curtain Call

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Dulaang UP's ANG KALIITAN NG KASALUKUYAN ran from March 12 to 29, 2026 at the IBG-KAL Theater in UP Diliman. 

REP: Review of UNPLUGGED: SOLE SURVIVOR: Narcissistic Neighbor

March 28, 2026

Nina (Gabby Padilla) and Anton (Markki Stroem) are fraternal twins raised in Poblacion, Makati, children of a British father and a Filipina mother (Ring Antonio). When they grew up, they were able to migrate to live and work in New York City. One day, one very expensive designer shoe fell from above onto Nina's terrace. When the shoe's owner Katie (Becca Coates) came to inquire, Nina outright denied that she had it. 

This play is the first play written by Fil-British writer and psychologist Patricia Manuel Go, who wrote "Sole Survivor" as a short story first in 2021 before developing it into a play in 2024. It was pure serendipity that her maiden play landed on the lap of Cara Barredo, who had been originally pegged to be one of the directors in Rep's experimental Unplugged series of staged readings this year, alongside the 100-year old "Private Lives" by Noel Coward. 

Gabby Padilla and Markki Stroem

I knew Gabby Padilla first as an intense internal film actress, like her quiet, restrained performance in "Gitling." On stage, this is the first play that I am seeing her play the lead. She really played obsessively narcissistic Nina with all-out delusional wickedness with that posh British twang, as she held on to that precious left shoe with gloating glee as Gollum did to the Ring. When Nina instinctively reverted to Tagalog in shock, the play hit a peak.

Markki Stroem's character Anton is one of those too-good-to-be-true type of guys. It was from his sharing with his colleague at the charity that we learn their tough family history. I felt this scene was practically a lengthy expository monologue. Being somewhat static, it suspends the satirical momentum of the play at that point. Also I wish the mom had another past occupation than the one mentioned, so as not to perpetuate negative Filipino stereotypes. 

Katie is wealthy by birth and position, so designer stuff for her were all par for the course. Becca Coates played Katie kooky, careless, with an endearing gullibility. The other actors went through a number of different funny accents to play various minor characters. Ring Antonio was a Filipino mother and a Guatemalan maid. Naths Everett was a Cockney tita and a Queens tita. Chesko Rodriguez was an AI app voice and NYC photographer.

Director Cara Barredo, Gabby Padilla, Chesko Rodriguez, playwright Patricia Go, and Markki Stroem. 

This particular staged reading was the very first time this brand new play is being performed in public, so it really felt like a true experiment, as Rep Unplugged was envisioned to be. I am pretty sure this is is not the final version of the play yet. After this maiden show and Q&A, Go, along with her director and actors, will surely make appropriate edits to make the show tighter, or develop certain parts more for a smoother flow of the storytelling. 

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REP UNPLUGGED: SOLE SURVIVOR will have one more staging tonight at 7 pm at the Rep Theater in Eastwood Citywalk. The show is in mainly English, with occasional Filipino expressions. It lasts for 45 minutes, with no intermission. Tickets at P1500 each. 

Review of TALES OF THE MANUVU (2026): Deities in Dance

March 27, 2026

"Tales of the Manuvu" is a classic Filipino ballet conceptualized, choreographed and directed by Alice Reyes, now National Artist for Dance since 2014. The libretto was written by Bienvenido Lumbera, now National Artist for Literature since 2006. The stories told were based on origin myths of the Manuvu (or Manobo) tribe, an indigenous subgroup of the Bagobo people in Mindanao, as recounted by Dean of Filipino Anthropology E. Arsenio Manuel published in Philippine Heritage back in 1974. 

The pop/rock musical score was composed by Dero (formerly "Nonong") Pedero, with additional music by rock band Afterbirth. It was first staged on February 25, 1977 at the Cultural Center of the Philippines. God of good Manama was sung by Boy Camara and danced by Gener Caringal. God of evil Ogassi was sung by Anthony Castelo and danced by Tony Fabella. First Man was sung by Hajji Alejandro and danced by Rey Dizon. First Woman was sung by Celeste Legaspi (Leah Navarro as alternate) and danced by Gina Mariano. 

Manama vs. Ogassi

The show told the story of the relationship between Manama, and Ogassi. The first part told of the "The Beginning of All Things," how Manama secured the fertile soil from Ogassi, setting off their rivalry. The second part told of "The First Man and the First Woman," both created pure by Manama, later corrupted by Ogassi. The third part told about "Trouble on Earth" when Manama raised his sky higher when human activities annoyed him, so Ogassi was able to wreak his havoc with a giant monster.

In this present 2026 incarnation, Manama was sung by Joshua Cadelina (alternate Ado Villanueva) and danced by Renzen Arboleda (alternate John Ababon). Ogassi was sung by Almond Bolante (alternate Greg de Leon) and danced by Earl John Arisola (alternate Erl Sorilla). First Man was sung by Ado Villanueva (alternate Joshua Cadelina) and danced by James Galarpe (alternate Renzen Arboleda). First Woman was sung by Christy Lagapa (alternate Toni Carm Santos) and danced by Krislynne Buri. 

First Man and First Woman entangled with the Uod

The 2026 set and costume designs were by Loy Arcenas, with lighting designed by Barbara Tan-Tiongco and sound engineering by Aji Manalo. The backing vocals were sung by the UP Concert Chorus, under the direction of Jai Sabas-Aracama. The dancers were from the Alice Reyes Dance Philippines and the University of the East Silangan Dance Troupe. The Lead Diwata was danced by Monica Gana, Francia Alejandro and Cielo Inday. The Lead Uod (in Part II) was danced by Dan Dayo.  The cute Bubuyog (in Part I) were Samantha Clare Hizon, Lua Jung and Stella Lu. 

Because of its classic status, I have heard about "Manuvu" long before, so I was so looking forward to finally be able to watch it now. The energetic choreography was exciting and exhilarating. The solos and pas de deux by the main leads were powerful for sure. However for me, it was those complicated group numbers by the ensemble that I found most captivating, with multiple dancers interacting with each other all across the full breadth of the stage with their various characters. They had this distinctive signature port de bras of moving flexed arms up and down which was so delightful to see. 

The Cast at the Curtain Call

It felt gratifying to hear that iconic song "Noong Unang Panahon" in its original context. , the soloists may not have the marquee names of the 70s original show,  but their singing was certainly outstanding, everyone was of stellar quality. This show I watched was a press preview, probably a technical dress run-through,  so there were some microphone glitches that made the lyrics of some narrative songs not too clear. The countertenor vocal range of Almond Bolante was impressive, but his mic in particular had too much reverb which muffled the words he was singing. The UP Concert Chorus also had a major moment to shine in that scene when their united voices drummed resonantly to create a thunderous atmosphere of fear.

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TALES OF THE MANUVU has a limited run at the Proscenium at Rockwell for only 3 shows: March 28 at 7:30 PM (Gala), March 29 at 2:00 PM (Matinee) and 6:00 PM (Finale). Tickets available on Ticketworld via this LINK. 

REP: Review of UNPLUGGED: PRIVATE LIVES: Flippant Flustered Folks

March 20, 2026

Ellie (Alfredo Reyes) and his young bride Sibyl (Karylle Tatlonghari) were on their honeymoon in a hotel outside Paris. Sibyl bugged Elyot by asking about his ex-wife Amanda whom he divorced five years ago. Meanwhile, in the adjoining suite, Mandy (Missy Maramara) and her new husband Victor (Hans Eckstein) were also on their honeymoon. Victor also bugged Amanda by asking about her ex-husband Elyot whom she divorced five years ago. 

"Private Lives" was first staged in 1930, but playwright Noel Coward wrote it in 1926, making this play already 100 years old this year. The first time this was staged in the Philippines was back in 1981 by Repertory Philippines on their 22nd Season. This year, Jeremy Domingo, the current artistic director of Repertory Philippines, thought of beginning their 89th Season with a staged reading of "Private Lives" in a new theatrical concept he called "Rep Unplugged."

This play is a century old as pointed out, so the manner of its comedy of manners can certainly feel dated. It was very much of its time -- so things can get uncomfortable even for a Gen X guy like me. Current red-flag topics like toxic masculinity, abusive relationships and casual misogyny were all over this script in the guise of "comedy." If not for its reputation as a classic, a play with a racy script like this may likely not get greenlit for staging anymore. 

Alfredo Reyes and Missy Maramara

That said, most of the play was indeed funny and quite entertaining. The cast went to town with it, albeit still holding their scripts in hand and delivered their lines by reading through it. 

The absolute MVP of the play for me was none other than Missy Maramara, who totally embraced all the quirky flaws of her Amanda. She had such a deliciously wicked delivery of Amanda's acerbic lines with timing so perfect, it was impossible for me to not laugh. Honed by her improv experience, Maramara's body language came across as natural and uninhibited. Commitment and consistent, she was truly a riveting and winsome stage presence. 

Alfredo "Bibo" Reyes had it rough because his Elyot was a most problematic fellow. While Elyot might have been considered "cool" in the 1930s (Noel Coward himself originated the role), he would be quite the creep nowadays. While he can sweetly play their theme song on a piano, he also had a violent temper can unleash a sharp slap. You can feel that Reyes was trying to soften the negativity of his character, but it was a tough balancing act. 

Karylle Tatlonghari and Hans Eckstein

The other two actors playing the new spouses actually embodied more of the 1930s-era acting style. Karylle did very well playing blond, kittenish socialite Sibyl with innocence and idealism, to the point of being clueless, but she had spunk, and would not go down without a fight.  Hans Eckstein clearly had fun playing Victor with classic gentlemanly attitude, with a nerdy sort of energy wound up in a nervous witty package. 

Repertory Philippines had staged several screwball American or British theater comedies like this over the years, and they are an integral part of the Rep signature. This time, departing from the Rep tradition of lavish productions, Director Domingo chose to present "Private Lives" as "unplugged" first, stripped down to essentials, immersive and intimate (with even seats for audiences up on the stage), with post-show talkbacks. It would be interesting to see how this experimental production style plays out in their next seasons. 

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"Rep Unplugged: Private Lives" runs only for two 7 pm shows on two days this weekend, March 21 and 22, 2026, at the Rep Theater in Eastwood Citywalk 2, Quezon City. 

Next weekend March 28-29, "Rep Unplugged" features another play, a new contemporary one this time -- "Sole Survivor" by Filipino-British playwright Patricia Manuel Go. This dark satire about consuming human ambition stars Giannina Ocampo Van Hoven and Markki Stroem, with direction by Cara Barredo. 

Tickets at P3000 - Double Feature (two readings), P1500 - Standalone (one reading only), and P500 - EXCLUSIVE STUDENT PRICE (one reading only), just present Student ID.

TGA: Review of A CHORUS LINE: Dynamism and Devotion in Dance

March 15, 2026

Veteran stage director-choreographer Zach (Conrad Ricamora) was holding auditions with his assistant Larry (Richardson Yadao) for the chorus of his upcoming Broadway production. Upon cutting down the initial group from 24 to 17, Zach asked the young people who remained to tell something more about themselves. The kids shared their own reasons about why they wanted to dance, among other personal discoveries and frustrations.

"A Chorus Line" is a 1975 musical conceived by Michael Bennett with music by Marvin Hamlisch, lyrics by Edward Kleban, and a book by James Kirkwood Jr. and Nicholas Dante. It won nine Tony Awards including Best Musical. With 6,137 performances logged, it remains to be one of the longest-running original run of a Broadway show ever.  

This 2026 Manila production joins in the 50th anniversary celebration of this beloved musical. It remarkably features an all-Filipino/Fil-Am cast, under the direction of Emmy Award-winning Broadway-based dancer-choreographer Karla Puno Garcia. 

The stage of the Samsung Performing Arts Theater followed its classic stage design -- a bare stage with straight line in the middle that traversed the stage from left to right, on which the dancers would position themselves. There would also be a wall of mirrors at the back to simulate a dance studio, plus eight more movable, lit up mirrored panels being wheeled around, as well as mirrors on suspended panels above the stage. 

The ensemble of dancers were mesmerizing to watch while in motion from that very first 10 minute number "I Hope I Get It" with its iconic grinding riff. As every character was desperate for a job, every one was just giving their all, dancing like there was no tomorrow. Since they were just being taught the steps at that point, each one had their own pace of learning, but despite this, they still flowed so smoothly as a group, and was exhilarating to watch. 

While everyone danced excellently, we can see some clear standouts. Angelo Soriano (as dance prodigy Mike Costa) did a spectacular high jump kick, plus plenty more slick moves during his "I Can Do That" number. Julio Laforteza (as family man Don Kerr) had heft and height drew attention to his grace. Petite Jessica Carmona (as 4'10" Connie Wong) impressively kept in step with her longer-limbed fellow dancers. Virgin Labfest playwright Mikaela Regis (as Sheila Bryant) surprised with her strong, sassy and sultry stage presence. 

In the singing department, it was Iya Villanueva (as Maggie Winslow) who stood out for me with crystal clear, soaring and sustained soprano, especially in the "At the Ballet" trio number.  Christina Glur (as Diana Morales) shone in her two solos -- "Nothing," about her disastrous high school acting class, and the inspirational anthem "What I Did for Love," still the most potent argument against the cynical Timothee Chalamets of the world. 

As this musical was written 50 years ago, it was inevitable that some topics in the confessions of those twenty-somethings back then may already sound outmoded for the youth of today. With Google as their ever-available reference material now, embarrassing questions like wet dreams and gonorrhea for Mark Anthony (Ken San Jose), or erections and homosexuality for Gregory Gardner (Luca Olbes), are not really such a big deal anymore as before.  

The most risqué number of them all would probably be "Dance Ten, Looks Three" where Val Clark (Brie Chappell) poured out her annoyance at being rejected for roles because of how homely she looked. Things only took a positive turn for her when she bought herself brand new bodily enhancements. The way she so frankly called them "t*** and a**"  sounds so archaic these days, but her song was still good for laughs, even for the titas beside me. 

In Act 1, Zach was mostly just barking instructions on or off stage. But Ricamora gets more stage time as Zach interacted with two dancers whom he cared about. When Zach repeatedly called lissome Cassie (Lissa de Guzman) out, she unburdened her passion for dance in one physically and emotionally demanding solo "The Music and the Mirror." The other sad character was Paul San Marco (Universe Ramos), a shy kid who lost touch with his parents when he found his calling for dance. He perseveres despite his conditions not being ideal. 

Also in featured roles were: Rapah Manalo (as enthusiastic Ritchie Walters), Stephen Vinas (as gregarious Bobby Mills), , Sam Libao and Jordan Andrews (as tone deaf Kristine and her supportive husband Al Deluca), Alyanna Wijangco (as forgetful Judy Turner), and Michaela Marfori (as Nureyev fan Bebe Benzenheimer). The rest of the ensemble include Lord Kristofer Logmao, Jim Ferrer, Winchester Lopez, Rofe Villarino, Bomba Ding (Vince Denzel Sarra), Paulina Luzuriaga, Anna del Prado, and Swings, Anyah de Guzman and Franco Ramos. 

In the end, it did not really matter who were the final eight chosen. The point of this musical is to make us see how important the art of dance is to the people who make a living with it -- as uncertain its future in terms of job prospects and financial security as it is. The chorus line may just be the backup behind the stars, but these people love their job and take it very seriously. They aim to entertain the audience with their every show, and we feel the very essence of that in the golden, hat-tipping, high-kicking finale number "One" -- truly a "singular sensation!"

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Theatre Group Asia's production of A CHORUS LINE runs from March 12 to 29, 2026 at the Samsung Performing Arts Center. Tickets available at TicketWorld (LINK): P5,500 (Orchestra Center), P4,500 (Orchestra Left or Right, Loge Center Front), P3,700 (Orchestra Left or Right Back, Loge Center Back), P3,000 (Loge Left or Right, Balcony 1 Center Back), P2,500 (Balcony 1 Center Back, Left or Right), P1800 (Balcony 2 Center).