9 Works: Review of ON YOUR FEET!: Epiphany of the Estefans

July 19, 2026

Since Gloria Fajardo was a young child (Althea Ruedas), she lived in the Little Havana district of Miami with her grandmother Consuelo (Pinky Marquez), her mother Gloria (Ayen Laurel) and her sister Rebecca (Anyah de Guzman). She was well-known in their neighborhood for being a good singer and her loving grandmother liked to show it off. However, her strict mother did not encourage her musical talent, believing it was just playing around. 

When Gloria was in her late teens (Molly Langley), her grandmother introduced her to a young man named Emilio Estefan (Jason Canela), who was a member of a local band called Miami Latin Boys. He invited Gloria to sing with them at a club gig one night, and she wowed everyone with a song she wrote herself. Since then, Gloria and Emilio were inseparable partners in their musical pursuits, which soon also turned romantic. 

Act 1 began with child Gloria recording a song for her father Jose (Vien King), who was then a soldier stationed in Vietnam, and singing for the neighboring washerwomen. There was also a flashback to Havana 1958 to reveal why her mother was against her dream to be a singer. We hear hits "Anything for You," "1-2-3," and "Here We Are" in this first act, which ended when their infectious song "Conga" finally launched their career into the big time. 

Act 2 began with lively numbers that Gloria sung in her international concerts. However, it was the darker moments that drew me in more, specifically the fateful accident of their tour bus that left Gloria with a serious injury. The songs sung during this harrowing time and its aftermath included "Don't Want to Lose You Now," "Reach" and of course, "Coming Out of the Dark." When the ensemble turned into her backing choir, the effect was glorious. 

For me, act 2 also contained one of the best original songs Gloria wrote for this musical, and this was not even sung by her. This was the song "If I Never Got to Tell You," which was sung while Gloria was bedridden in the hospital after her accident. This was a beautiful duet of reconciliation sung between her mother and her husband, who had been at serious odds with each other beforehand. This was the best vocal performance of Laurel and Canela.

From where I was seated in the front row of the balcony, the resemblance of Molly Langley's face to the real Gloria Estefan was truly remarkable, especially with that wig of big curls. She was also able to approximate Estefan's rich and versatile singing voice. (Kayla Rivera alternates as Gloria Estefan.) Jason Canela is an American actor of Cuban descent, with a heavy Latin accent which may make some of his lines or lyrics not so easy to understand, but you always felt the sincerity in his love for Gloria. 

Pinky Marquez surely stole her scenes with her singing, dancing, and her wacky grandma antics. Ayen Laurel had the thankless role of a mother who did not support her daughter's dreams, but she delivered so well, such that her change of heart later would have deep emotional connection. At first we only knew Athea Ruedas as an actress in films like "Doll House" (2022), but here she proved that she was a triple threat in her tender age. (Reese Ito alternates as young Gloria.)

Vien King only had a few lines as Gloria's soldier dad Jose, but his tenor can really soar. John-Joven Uy surprised me with his multiple roles, singing and dancing as member of the ensemble ranging from comic to serious, including a mustachioed combanchero in a sombrero singing for tips. I've seen Elian Santos once before as one of Sisa's sons in "Liwanag sa Dilim." Here he got to show off more of his dance skills, on top of his acting skills. (Manolo Villalva alternates as young Emilio.) 

The way the story of the Estefans was told was rather uneven, with the pacing inconsistent. There were scenes can feel tiresome, like those about the behind-the-scene business negotiations. Some "funny" bits did not land, but some smaller jokes unexpectedly did, like that bit about the nurse who was a big fan. Some songs were unfamiliar, yet some big hits of MSM had not been included and are missed, like "Words Get in the Way" or "Bad Boy." 

Momentum between songs was certainly not a problem anymore in Act 2. The urge to stand up and dance was very much stronger when the mega-mix medley finale came on -- which included major bangers like "Rhythm is Gonna Get You," "Turn the Beat Around," "Everlasting Love," and "Get on Your Feet." Those of my age whose pop music appreciation peaked in the late 1980s and early 1990s will definitely enjoy the songs and get their money's worth.

The cast at the curtain call

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'ON YOUR FEET" runs from July 10 to August 2, 2026, at 8:00 PM on Fridays and Saturdays, and 3:00 PM on Saturdays and Sundays, at the Proscenium Theater, Rockwell Center in Makati City. Tickets cost P6,695 (Orchestra Center), P5,974 (Orchestra Center Back & Side), P5,459 (Orchestra Side Corner), and P3,605 (Dress Circle) and are available via TicketWorld and at the Power Plant Mall Cinema.

"On Your Feet!" features a book by Academy Award winner Alexander Dinelaris, and music produced and recorded by Emilio & Gloria Estefan & Miami Sound Machine. This current 9 Works production is directed by Robbie Guevara, with musical direction by Daniel Bartolome and choreography by Nunoy van den Burgh. The rest of the technical crew include: Mio Infante as scenographer; Gabo Tolentino as lighting designer; Aron Roca as sound designer/engineer; Justin Santiago as video and projection designer. 

The ensemble includes: Meliza Reyes Uy, Neo Rivera, Antonio Valdez, Altair Alonzo, Roxy Aldiosa, Rica Laguardia, Matthew Barbers, Carmelle Ros, Winchester Lopez, Cheska Quimno, Richardson Yadao, Macel Dofitas-Yadao, Gerhard Krysstopher, Lord Kristoffer Logmao, Jacqui Jacinto, Gianna Hervas, and Roni Paderes. 

Porvenir: Review of EL FUEGO DEL ALMA: Pressurized Passions

July 18, 2026

Alma Ortega (Opaline Santos) was the daughter of the local minister (Rolando Inocencio). Her mother (Sheryl Ceasico) had mental issues that caused her to act like a child, so Alma lost her own youth to take over her mother's duties.  Alma became very stern and impatient as a person, and she kept pretty much to herself. Despite this, Alma was still able to teach singing voice lessons, and her current student was young Nelia (Ingrid Joyce). 

Alma's closest childhood friend was her next door neighbor Juanito Yago (Sandino Martin). He had to leave and go to the city to take up Medicine to be like his father. After several years, when Joselito came back home after his studies, the flame between Alma and Joselito in their youth soon got rekindled. However, when Alma kept Joselito at bay, he sought company from Rosa (Hariette Mozelle), the loose daughter of the gambling den owner. 

"El Fuego del Alma" is a Filipino adaptation of "Summer and Smoke," a full-length play by American playwright Tennessee Williams that first debuted on Broadway in 1948. All the tropes in William's signature style of Southern Gothic are in this one, from the sweltering heat to the repressed sexuality. From its original setting in Mississippi, this story was seamlessly adapted into the Filipino language and context by Eljay Castro Deldoc. His adaptation of the story was so astute, you will not feel that this was a foreign story.

Opaline Santos and Harriette Mozelle alternate with each other in the role of repressed Alma and flirtatious Rosa. Nour Hooshmand only alternated as Alma. Similarly, Sandino Marin and Vincent Pajara alternated with each other in the roles of Juanito and shoe salesman Archie. The minor characters also have alternates: Sheryl Ceasico and Madlen Nicolas alternate as Mrs. Ortega. Rolando Inocencio and JP Lopez alternate as the two father characters -- Mr. Ortega and Dr. Yago. Ingrid Joyce and Janna Cortez alternate as Nelia.  

Johnny Maglinao and Dolly Dolot were the "Chorus," two gossipy guys who dish out the inside dirt around their town to keep us updated. In the climactic part of the play, we see Dolot pick up a banduria and started to play it, together with another Chorus alternate Tristan Bite on guitar. Their fiery string musical accompaniment felt very in sync with the tumultuous spirit of those heated scenes, in perfect execution of the director's vision. 

I have seen Opaline Santos in various roles in Dulaang UP and Virgin Labfest. This is the first time I am seeing her in a full-length lead role, but I am aware that she has done a one-woman show before. Alma's arc stretched a stage actress's range, and Santos was certainly up for that challenge. Santos's big eyes did a lot of the internal talking for her Alma, and in the intimate venue where this play was performed, we see every little nuance. 

From the first time we see Sandino Martin's Juanito outside just silently looking at Alma, we already feel the sexual tension his role carried. With his dark brooding looks, Martin effortlessly smoldered throughout the first two acts of the play by the sheer physicality of his stage presence. The burning passion building up in his Joselito would finally reach such libidinous ecstasy at one point -- a scene that the intimacy of the venue made bolder. 

Harriette Mozelle never broke character as her character Rosa was a sly temptress through and through. Rolando Inocencio represented two kinds of strict father figures -- one based on science, the other on religion. Sheryll Ceasico portrayed Mrs. Ortega's madness with childlike glee. Ingrid Grace had a clear lilt in her voice that represented her innocence well. Juanito alternate Vincent Pajara makes a cameo here to tease what he could bring to that part.

As may be surmised, the extraordinary venue was very much a character of its own in this production. I have been to Sine Pop for special film screenings before, but this is the first time I have seen the first floor coffee bar area converted into a performance venue. To extend his stage, director Mark Mirando made full use of the wide pane glass window that allowed us to see the peaceful bamboo garden outside, which, along with the glass door and side wall, as well as the stairs to the second floor, were all integrated into the scenes. 

Joyce, Ceasico, Martin, Mozelle and Santos

at the curtain call

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El Fuego del Alma runs July 17–19, July 31, August 1–2, and August 21–23 at Sine Pop, Cubao, Quezon City. Shows are on at 7 pm on Fridays, Saturdays and Sundays, with 4 pm matinees on Saturdays and Sundays. Tickets are priced at ₱1,800 through Ticket2Me, or onsite. 

GMG: Review of CHARLIE AND THE CHOCOLATE FACTORY: Fantastical Family Fable

July 10, 2026

Willy Wonka (Michael Dalke) was a master chocolatier who was well--known for producing the best chocolate bars in the world. One day, Wonka felt that he was getting old, and needed to find someone to take over his factory. He would like his heir to be someone like him, someone who loved chocolate and had the imagination to create with chocolate. To find someone, Wonka decided to open a chocolate shop in town, but he did not reveal his real identity. 

Charlie Bucket (Oliver Wong) as a kid who lived with mother (Karylle Tatlonghari) and his four bedridden grandparents Joe (Michael Biren), Josephine (Mykall Philipps), George (Brett Cole Young)and Georgina (Emma Casertano).  Chalie loved chocolate, but they were so poor, he was only able to eat a chocolate bar once a year on his birthday. He idolizes Willy Wonka, and longed to win one of five Golden Tickets in order to be able to take a tour inside his factory. 

This story was first published in 1964 as a novel for children by Roald Dahl. Like most of his other books, "Charlie and the Chocolate Factory" also had elements of dark comedy and even the macabre that distinguish his work. While Charlie's poverty and kind heart was treated with sentimentality, the other kids who won the Golden Ticket represented cardinal bad behavior common among kids, and were punished accordingly in dark scenarios.  

The first film adaptation "Willy Wonka and the Chocolate Factory" (Mel Stuart, 1971) starred Gene Wilder, with a screenplay by Dahl himself. It was not a box-office success, but eventually became a cult favorite. A second film version released in 2005 under the original title was directed by Tim Burton and starred Johnny Depp. A third film, "Wonka" (2023, Paul King) starred Timothy Chalamet and gave Wonka a more fleshed-out backstory. 

A musical version, with book was by playwright David Greig and original score composed by Marc Shaiman with lyrics by Scott Wittman and Shaiman, first opened in the West End in 2012. The touring production brought by GMG to Manila was the 2017 reworked Broadway version, that incorporated popular songs by Leslie Bricusse and Anthony Newley from the 1971 film. Local actress Karylle was cast as Charlie's long-suffering mother Mrs. Bucket.

As expected, the audience reacted warmly to the classic songs "The Candyman" and "Pure Imagination." "Oompa Loompa" was as irresistible an earworm as ever, to accompany the innovative puppetry technique used for them. Among the original songs, "What Could Possibly Go Wrong?" and "Vidiots" were the catchiest, while Mrs. Bucket's "If Your Father Were Here" and Wonka's valedictory  "The View From Here" were effectively sentimental. 

The show is definitely rated PG, as it dealt with excessively entitled brats and how they were punished, quite disturbing for very young viewers. What happens to Augustus Gloop (Sam Nackman), Violet Beauregard (Giselle Watts) and Mike Teavee (DJ Plunkett) can still somehow be considered funny. However, I felt they went a bit too far for Veruca Salt (Allison Gann). Her fate at the hands the giant squirrels was very shocking and downright scary. 

Of all the actors, it was the youngest cast member -- 10 year-old Oliver Wong as Charlie -- who really captured everyone's heart with his spirited acting and winsome smile. The way he delivered his lines was clear and delightful. The way he sang his solo songs like the adulatory "Willy Wonka! Willy Wonka!" and the wistful "Letter from Charlie Bucket" was soaring and endearing. Cohen Toukatly alternates in the role of Charlie.

The colorful projection backdrops brought the audience into Wonka's magical factory in 3D visual illusions. There were a number of simple magic tricks included in the narrative to keep the kids fascinated. There were some mature jokes to keep the adults entertained, especially in the character of beer-guzzling, pill-popping Mrs. Teavee (Kelly Brandenburg). In fact, a sip of her "lemonade" made Willy Wonka belt out an unexpected song with a surprise twist! 

The Colorful Cast at the Curtain Call

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"Charlie and the Chocolate Factory: A New Musical" runs at the Theater in Solaire from July 8 to 26, 2026. 

Tickets available on Ticketworld (LINK). Ticket prices for weekday shows (Tuesday to Thursday) range from P6877 (Orchestra Center, Premiere Gold Center), P5078 (Orchestra Sides Front, Premiere Gold Sides), P3703 (Orchestra Sides Back), P3174 (Balcony Center and Sides Front), P2645 (Balcony Center and Sides Back), P1587 (Balcony Center and Sides from Row SS back). For weekend shows (Fridays to Sundays), ticket prices range from P7406, P5819, P4232, P3491, P2962, and P2116. 

The director of this touring production is Matt Lenz, with choreographer Alison Solomon, and musical directors Nate Patten and Greg Jarrett. The creative, design, and production team includes Mark Thompson (set and costume design), Christine Peters (tour scenic design), Jeff Sugg (projections), Rory Beaton (lighting), Mike Thacker for Orbital Sound (sound design), Basil Twist (puppet design), and Tim Clothier (illusions). 

PETA: Review of ANG BABAE SA SEPTIC TANK 4: Chaotic "Cheter" Comedy

June 25, 2026

One night, Eugene Domingo invited a select group of special theater friends to her house for dinner and a major project proposal to celebrate her 37th year as a theater actress. They were director Marlon N. Rivera, producer Melvin Lee, fellow actors Stella Canete-Mendoza, Andoy Ranay, JC Santos, and Meann Espinosa. She originally had writer Rody Vera in her guest list, but since he could not make it, Lee brought in up-and-coming talent Joshua Lim So. 

Eugene wanted something big and impactful to celebrate her career milestone. For this new project, she did not want to follow popular "fads or fashion." She wanted it instead to be derived from "urgency and involvement."  With this motivation in mind, she wanted to do a grand production of Aurelio Tolentino's 1903 nationalistic classic "Kahapon, Ngayon at Bukas" as Inang Bayan, to be staged on a ship's deck in the middle of the West Philippine Sea. 

The original Cinemalaya film "Ang Babae sa Septic Tank" (2011) was an inside look into the process of indie film making. The sequel "Ang Babae sa Septic Tank 2: ForeverIsNotEnough" was an inside look into mainstream film making. The third iteration, "Ang Babae sa Septic Tank 3: The Real Untold Story of Josephine Bracken," was a 7-episode mockumentary series that gave us an inside look into film directing and historical revisionism in mass media. 

There were three constants in all these projects -- writer Chris Martinez, director Marlon N. Rivera and of course, the inimitable star, Ms. Eugene Domingo playing an exaggerated version of herself in all of these films within films. She was never afraid to make a fool of herself as a superstar actress whose out-of-control inflated ego put her into hilarious self-aware situations, as only Rivera and Martinez can conjure them. 

This fourth and latest reincarnation -- with the lengthy title of "Ang Babae sa Septic Tank 4: Oh Sh*t It's Live sa Cheter!" -- brings us inside the process of theater production, from the pitch, to casting, to rehearsals, all the way to opening night. Chris Martinez is still the genius writer, delivering razor-sharp Pinoy comedy as expected. This time, PETA veteran Maribel Legarda directs, with Marlon N. Rivera now onstage as an actor, playing the director of the play within the play. 

And then there is is Eugene Domingo. It was one thing watching her as a larger-than-life personality on the big screen, but it was a totally surreal experience watching her megalomaniac version of herself in the flesh -- and I mean that in the literal sense. She was such a delightfully annoying diva the whole time, especially when she was going overboard with all her eccentric "notes" that drove writer Lim So and director MNR up the wall. 

This must be the craziest that I have seen acclaimed actors Andoy Ranay, Stella Canete-Mendoza and JC Santos ever. Ranay was reveling in unbridled skin-revealing gay-ness. Canete-Mendoza was fully-committed in playing a male warrior character in various versions. Santos unleashed his performance versatility full blast -- effortlessly transitioning from classic Filipino to archaic English to hiphop Taglish, folk-dancing and tap-dancing along the way.

At first, PETA President Melvin Lee was grumbling about jukebox musical rehashes. But as Domingo's producer, Lee could not help but sacrifice integrity of the historical material to maximize its money-making potentials. Marlon Rivera tried to fight for his directorial vision but could not help but acquiesce to the absurd wishes of his star. As a last-minute replacement, Joshua Lim So was an awkward fish-out-of-water at first, but his casting soon proved to be astute.

Meann Espinosa was ever-reliable as Domingo's girl-Friday and intimacy coordinator. She was also the one who gathered a gang of street urchins to serve as the ensemble in Domingo's passion project -- calling them the "Ugeng-gengs." They are: Kiki Baento, Carlon Matobato, Roi Calilong, Nyla Festejo, James Lanante, Reggie Ondevilla, Ada Tayao, Pio Viola and Mico Esquivel, with alternates Ron Alfonso, Jay Cortez, Eli Namoc and Air Paz. 

Theater practitioners and fans will surely enjoy the whole meta-ness of this self-critical romp very much, with countless in-jokes about fellow actors, writers and directors. The "schools of acting" joke in the first film was expanded to acting styles of various theater companies. Like previous PETA shows, there was current pop culture references galore, from Alex Eala to Goldwyn Reviews, which had the audience in stitches from start to finish. 

Nothing will prepare you for how they executed that out-of-this-world ending. Simply calling it "wet and wild" would be selling it short. If you thought that Ms. Eugene Domingo had already given it her all in her past "Septic Tank" movies, she just managed to still outdo herself here, revealing more than she had ever revealed before. If you thought that that "Oh Sh*t" part of the title was purely an exclamatory expression, think again. 

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"ANG BABAE SA SEPTIC TANK 4: OH SH*T, IT'S LIVE SA CHETER" runs from June 19 to August 16, 2026 at the PETA Theater Center in Quezon City. Ticket prices range from P3,500 (VIP), P2,800 (Orchestra Center, Balcony Center), P2,500 (Orchestra Sides) and P1,800 (Balcony Sides), from TicketWorld (LINK) or Showbuyers (LINK). 

Artistic Staff is led by Director Maribel Legarda, and Assistant Director Johnnie Moran, with Gino Gonzales (Set and Costume Designer), Barbie Tan-Tiongco (Lighting Designer), Angel Dayao (Sound and Music), Michelle Ngu Nario (Lyricist), Raflesia Bravo (Choreographer) and 

Bene Manaois (Video Design and Mapping).

9Works: Review of YEMAYA: Aspiring for America

June 20, 2026

Jesus (Benedix Ramos) was a young boy who lived in a remote rural farming village called Magdalena. He spent his days playing dominoes with his cheerful friend Tico (Herbie Go) who owned a stall selling coconuts, and street-smart Uncle Jelin (Anthony Falcon) who went to the big city for his business. One day, Jesus tagged along with Jelin to the city and was awed by the bright neon lights and ice-cold Coke in the grocery of Lila (Sheenly Gener).

Jesus also saw the fancy El Castillo Hotel, where the President of America stayed when he came to visit their island. He promised himself that when he grew up he would make his way to someday go to America and meet the President for himself. However, his boyhood turned from idyllic to tragic when a big fire razed Magdalena down. Jesus returned to the city, took on the name Mulo to work in Lila's store. It was there that he met Maya (Ness Roque). 

The original play was entitled "Yemaya's Belly," written in 2003, the first play by Pulitzer-Prize winning playwright Quiara Alegría Hudes. Prolific local playwright Eljay Castro Deldoc had the idea to translate the play from its original language of English into Filipino. This adaptation, now simply called "Yemaya," fit right in with the Latin / Caribbean-flavor of the play in terms of shared atmosphere and culture that was steeped in magic realism. 

After a 7-year hiatus, Ed Lacson Jr. returns to Manila to direct the play and design the set of "Yemaya." His set design was definitely one of this play's stellar aspects. The stage was a giant rectangular sandbox with a walkway of wooden planks on all sides. The props and set pieces -- from neon signs to a rowboat -- were suspended on the ceiling, to be brought down as required. Generous stage smoke completed the eerie illusion when needed, like in that heart-pounding scene of Jesus and Maya walking to the boat at midnight or that harrowing night in the open sea during a squall.

I've seen Benedix Ramos in emotionally-tough roles in "Next to Normal" and "Dagitab" before, and he did not disappoint here as Jesus. His alternate is indie movie actor Tommy Alejandrino, who has also been receiving rave reviews about his performance in this same role. This is the first play that I have seen Ness Roque, but she had been with Sipat Lawin since 2009. With a strong, confident stage presence, she made for a spunky and spirited Maya. Her alternate, Sheena Belarmino, is the current ingenue du jour, so she should also be very good. 

Bituin Escalante played a dual role here At first we see her as Jesus's kind mother with whom he was very close. Later we would see her as a flirty and mysterious street singer named Yemaya, who wore a royal blue satin gown adorned with feathers. In Act 2, we would see her  embody the legendary Yemaya, goddess of the ocean in the Yoruba religion of West Africa. She gets to intone a couple of songs with a mystical spirit only her voice could imbue.

Herbie Go's Tico was a generally happy and friendly older guy, who was devoted to his wife. He also played the hotel manager who was directing him to the lowermost penthouse room in Jesus's surreal fantasy. Sheenly Gener's Lila was a practical store owner, and her interactions with Jesus were quite lively and engrossing. You'd think that Anthony Falcon's Jelin will have more to do, but unfortunately, this character was quite underused. 

It is very surprising to learn that this project is 9 Works Theatrical's first straight play (and in Filipino to boot) in its 17 year history. Their past output had been all been Broadway or West End musicals, with one notable OPM jukebox musical, "Eto Na! Musikal nAPO!" in 2019.  This project has a sad story, dark mood, heavy subject matter, blurry lines between reality and fantasy, plus a rather lengthy run time of 2 hours 40 minutes with 15 minute intermission. This isn't as bucolic or innocent as the poster may suggest, not another "Once on This Island." While undoubtedly well-made, it may not exactly be an easy watch for all audiences. 

Falcon, Escalante, Ramos, Roque, Gener at their curtain call (Go hidden)

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"Yemaya" runs from June 13 to July 5, 2026 at the Black Box Theater, on the 6th floor of the Procenium, Rockwell, Makati. Ticket are priced at P2900 (VIP), P2600 (Premium) and P2,300 (Regular), on Ticket2Me or on site. Act 2 has some suggestive elements that make it uncomfortable for children to watch -- rated PG. 

Corner Studio: Review of PASIYA: A TWIN BILL: Divisive Decisions in Democracy

June 13, 2026

The Corner Studio's maiden production was the Lenten musical "Pilato," about the passion of Jesus told through the eyes of Pilate. This was held at the PETA Theater in April 2025. Its second show was a one-act play " People v. Dela Cruz," about the first murder trial decided by a 6-man jury in the Philippines. It was held right in their home office in the heart of Sta. Mesa, Manila, just this January. Both shows were written and directed by Eldrin Veloso. 

Their latest show is called "PASIYA," a Filipino word that means "decision." This is a twin bill of two one-act plays both tackling that tricky theme. It includes a re-run of "People v. Dela Cruz", together with the premiere of Veloso's newest work "Every Male and Female." This is being held in the home office of their sponsor Headroom CDV, which is located in the heart of Sta. Ana, Manila. Headroom CDV an architectural design first, but it has an advocacy to avidly support thought-provoking local theater, as espoused by its main architect Kevin Nieves. 

The first play "Every Male or Female" is set during the American occupation. Women's suffrage had been frowned upon as it supposedly endangered family values. However, in 1933, a law was finally passed allowing Filipino women to vote. However in the first instance that they could exercise this right -- the 1935 referendum to ratify the constitution of the  Philippine Commonwealth -- Filipino women would again lose their right of suffrage again upon its ratification, until it can be restored by another amendment in the future. 

This ironic quandary of choosing to advance the quest for independence versus losing the right to vote was the topic of bitter arguments among three female friends, all of whom were members of an organization that fought for women's rights. It was referendum day, and chapter head Hilda (Rain de Jesus) and her daughter Felisa (Vea Novona) were preparing for their group's meeting. School teacher Esperanza and spunky spinster Pacita (Carla Martinez) both came for a visit that day to talk about the plebiscite. 

The all-female ensemble of four held us enthralled in their passionate discussions about the vital political and personal issues. From the minor comical role I've seen her from before, Rain de Jesus was totally transformed here as Hilda, caught between her duties as women's leader and as mother. Althea Aruta's Esperanza was an idealistic educator here, excited to exercise her vote for the future of the country. Vea Novona's Felisa represented the youth who were forced to obey their elders despite their dissenting opinions. Veteran actress-singer Carla Martinez was a riveting presence as Pacita, with her dry wit and strong resolve.

After a 15 minute intermission, the second one-act play "People v Dela Cruz" was presented. As mentioned, this play brought us into the jury deliberation room where the six jurors had been sequestered to try to come up with a unanimous decision if the accused Dela Cruz was guilty of murdering a policeman in a drug raid, or not. I had already seen and reviewed (LINK) this last January. It was very good to watch it again, and gain more insights from the points raised. 

Its hard-hitting, heatedly argumentative script remained essentially as is. The actors playing the jurors remains intact, with only one juror re-cast: Emlyn Olfindo-Santos as flighty matron Marian, Aaron Dioquino as opinionated student leader Lean, Pauline Arejola as spoiled Gen Z girl, Althea Aruta as school teacher Katniss and J.P. Basco as foreman, paralegal Orion.

As this scenario was set in year 2032, the jury was now gathered around a functioning interactive Panasonic Smart Table. Two actors return to stage from the previous play. Rain de Jesus' Marshall was more like an android now, more ominous, in keeping with the high-tech vibe. Althea Aruta is back as another teacher character with a compassionate sense of justice.  Writer-director Eldrin Veloso adds actor to his credentials, very convincing in his antagonistic Mayor Rico, with an abrasive manner and gruff voice so far apart from his easygoing off-stage demeanor. 

The whole cast takes a bow: Martinez, Novoña, De Jesus, Aruta, Veloso, Dioquino, Basco (Santos and Arejola not seen)

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PASIYA runs from June 12 to 21, 2026, at Headroom CDV, located in 2611 Lamayan, Sta. Ana, Manila. Show times are at 7:00 PM on Fridays and Saturdays, with 2:30 PM matinees on Saturdays and Sundays. You can buy tickets, priced at P1500 each, at this LINK or on site.

Rep: Review of MAN OF LA MANCHA (2026): A Dogged Determination to Dream

June 6, 2026

Poet and playwright Miguel de Cervantes (Nonie Buencamino) and his servant (Marvin Ong) were incarcerated in a holding area for people awaiting questioning by the Spanish Inquisition. He had been arrested because he had levied taxes on a church which he did in the spirit of social justice. A prisoner called the "Governor" (Tarek El Tayech) puts him on a mock trial, with another prisoner called the "Duke" prosecuting.

As his defense, Cervantes directs his fellow prisoners in a play about an old man Alonso Quijano, wanted to live out the fantasies he had read in books by becoming a knight-errant, calling himself Don Quixote of La Mancha. Together with his loyal squire Sancho Panza, Quixote mistook an old inn for a castle and entered it. Inside they met local drunkards being served by a woman named Aldonza (Katrine Sunga).

"Man of La Mancha" is a 1965 musical with a book by Dale Wasserman, music by Mitch Leigh, and lyrics by Joe Darion, inspired by Miguel de Cervantes and his 17th-century novel "Don Quixote." The original 1965 Broadway production won five Tony Awards, including Best Musical and Lead Actor for Richard Kiley. It has been revived four times on Broadway, the last one being in 2002, featuring Brian Stokes Mitchell and Mary Elizabeth Mastrantonio. 

Rep had staged this musical two times before, both prestige projects with all star casts. The first was in 1987 at the Insular Life Theater, directed by Zenaida Amador. It had Miguel Faustmann as Don Quixote, Baby Barredo as Aldonza and Junix Inocian as Sancho. The second was in 2005 at Onstage Greenbelt, dedicated to Amador on the first year anniversary of her death. This was directed by Barredo, starring Audie Gemora / Michael Williams as Don Quixote, Menchu Lauchenco-Yulo as Aldonza and Robbie Guevara as Sancho. 

This current production is staged at Rep Eastwood Theater at the Eastwood Citywalk in Libis, Quezon City. Director Nelsito Gomez opens his version with the stage transformed to look like a modern prison complex, with a motley group of prisoners inside, even including a mother nursing a child. Even when there was a Spanish guitar being plucked as the  guards wearing bullet-proof armor, helmets and face shields brought Cervantes in to await his turn to be tried by a dictatorial governing body, tension certainly ran very high. 

The 16th century era Spanish costumes came out to be worn when Cervantes was dressing up his cast for the play within the play. If you are not familiar with the story, you may just get lost at this point because it was not that easy to follow the delusions of Don Quixote, starting from that windmill episode. There were ruffians in the inn, led by the tall, brawny Pedro (Julio Laforteza) who were hassling Aldonza the whole night, until their drunkenness led to a long disturbing scene of shocking physical abuse and violence I did not expect in this musical. 

Also potentially confusing were the numerous characters in the play, played by Cervantes' fellow prisoners. The "Governor" became the "Innkeeper," who reluctantly welcomed the strange visitor in. The "Duke" became "Carrasco," a doctor who wanted to break through Don Quixote's delusions. Aside from Aldonza, the other three women prisoners became Quijano's niece and Carrasco's fiancee Antonia (Mikkie Bradshaw-Volante), his Housekeeper (Sarah Facuri), and Innkeeper's wife Maria (Liway Perez).

Like most people, I only knew one song from this musical -- "The Impossible Dream," which encapsulated Don Quixote's unwavering idealistic quest to turn the world towards good, which many of us jaded with the world would interpret as foolish delusions, especially these chaotic days. The soundtrack revealed a lot of other catchy tunes sung by Don Quixote like the title song and "Dulcinea," and the irresistible group number "I'm Only Thinking of Him," sung by Antonia, Housekeeper, the Padre (Stephen Hotchkiss), then to be joined by Carrasco. 

Nonie Buencamino essentially played three roles here -- Miguel de Cervantes, Alonso Quijano and Don Quixote. By his awards and reputation, there was no doubt that Buencamino can pull off the acting requirements of this complex role. Now the singing part was a very pleasant surprise for me because I have not heard him sing before. After he hit and sustained that soaring final note of his "The Impossible Dream," there was absolutely no doubt of his vocal versatility. For an interesting bit of trivia, this is a homecoming of sorts for Nonie Buencamino to this musical, as he played the role of the Padre in the 1987 Rep staging. 

The role of Aldonza is a particularly challenging one, especially with the trauma this bitter character had to endure during the "Abduction" scene. She also had to hit high soprano notes in all her songs. This must have been Katrine Sunga's biggest role in a musical in her career and she absolutely nailed the part, both singing and acting parts. She may be a new face to most of us now, but this performance has certainly been a major coming-out event for her, considering that she had inherited this role from icons like Barredo and Lauchengco-Yulo.

Marvin Ong made for a delightful Sancho Panza with his cute physical features and bright strong tenor voice, that contrasted well with Buencamino's world-weary baritone. Tarek El Tayech again stood out with his towering heft, but his memorable moment came when he dubbed Don Quixote as the "Knight of the Woeful Countenance" while wearing a short white nightgown.  Fresh from playing the comical dwarf King Farquaad in "Shrek the Musical" last year, Alfredo Reyes again plays the antagonist here, with his Knight of the Mirrors a blinding spectacle. 

"Man of La Mancha" just turned 60 years old last year, so even I was apprehensive that the material may feel dated. However, the storytelling style of Nelsito Gomez gave this production an updated treatment that made it feel applicable to the tumultuous political times of the present. For those who are watching this for the first time like me, we may not completely understand every story point or figure out all the metaphors, but by the time the ensemble sang "The Impossible Dream" to Cervantes at the finale, we will get its clear message.  

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Repertory Philippines' 2026 production of Wasserman and Leigh's "Man of La Mancha" runs from June 5 to 28, 2026 at the Rep Eastwood Theater. Tickets at P3000 (Orchestra Center) and P2500 (Orchestra Side), available from Ticketworld (LINK) and Ticket2Me (LINK). 

The rest of the acting ensemble includes Dippy Arceo as Jose, Jasper Jimenez as Juan/Barber, Ralph Oliva as Paco, Khalil Tambio as Anselmo, Rafa Sumilong as Captain. with JV Fulgencio and Aly Wijangco as the swings. 

The artistic team includes musical director Farley Asuncion, vocal coach Arman Ferrer, choreographer Jim Ferrer, set designer Julio Garcia, costume designer Hershee Tantiado, sound designer Kabaitan Bautista, and lighting designer D Cortezano.