GMG: Review of JESUS CHRIST SUPERSTAR in MANILA (2026): Gospel with Glitter and Groove

May 3, 2026

Because his teachings and miracles had earned him hordes of followers among the Jews, Jesus (Joshua Bess) has gained the ire of the Pharisees. Their leaders, Caiaphas (Grant Hodges) and Annas (Kodiak Thompson), bribed one of Jesus's apostles, Judas Iscariot (Javon King), to deliver him to them for the price of thirty pieces of silver. Jesus faced trial before Pontius Pilate (Ethan Hardy Benson), which led him to his death by crucifixion.

This timeless story, which formed the basis of Catholicism and all Christian religions, has been recorded in the Holy Bible, then told and retold over the centuries. In 1970, it became the subject of a sung-through rock opera, with music by Andrew Lloyd Webber and lyrics by Tim Rice. After its success as a concept album, it debuted on the Broadway stage in 1971, West End in 1972, then transitioned into film under director Norman Jewison in 1973.

In 2016, a revival of this musical was produced by the Regent's Park Open Air Theatre under the direction of Timothy Sheader, which later went on to win the 2017 Olivier Award for Best Musical Revival. In 2025, this same production was announced to go on an international tour, to kick off in Manila in May 2026. After Manila, it will be going to Taipei, Hong Kong, Singapore, and London in June (with Matty Juniosa just announced to play Annas!)

I have seen the film more than once and am familiar with the songs, but this is the first time I have seen it played live on a stage. This was not a 'traditional" interpretation, not your grandma's passion play. Except for the Sanhedrin with their capes, priestly breastplates, staffs (that doubled as microphones on the other end) and bare torsos, characters wore modern active wear outfits of polyester, denim or leather, no biblical robes here. 

There were massive scaffoldings at the back where the live band, led by musical director Harry Haden Brown, were situated on its various levels. On the foreground was a huge cross lying on the floor, acting mainly as a runway on which actors walked, but later doubled as the table of the Last Supper -- a perfectly-executed ingenious staging idea which may look better when seen from the loge or balcony. 

Javon King (Judas), Joshua Bess (Jesus) and Gab Pangilinan (Mary Magdalene)

Joshua Bess and Javon King made an electric Jesus - Judas tandem, the controversial friendship around which an intense and tragic personal conflict revolved around. Both of them had total control of their powerful wails. The main highlight of Bess' Jesus was "Gethsemane," innovated by having him play guitar while singing the initial verses, before power-belting the rest of the song with raw painful emotions. King's Judas had several showstoppers -- the opening song "Heaven on Their Minds," "Damned for All Time/Blood Money" when he stained his hands with silver glitter, "Judas' Death" with its heat-wrenching reprise of "I Don't Know How to Love Him," and of course, the anthemic title song.

For the Manila shows, the role of Mary Magdalene (still thought to engage in an unsavory "profession" in this 1970 iteration of the story) was played by local theater star Gab Pangilinan. For fans of her previous performances, from "Side Show" to "Ang Huling El Bimbo" to "The Last Five Years," there was no doubt that she would nail this role. She imbued all of Mary Magdalene's songs with her clear and calming mezzo-soprano -- "Everything's Alright," "Could We Start Again Please," and her signature hit "I Don't Know How to Love Him." 

The striking vocal contrast between deep bass-baritone Grant Hodges (as Caiaphas) and rock countertenor Kodiak Thompson (as Annas) was a wonder to hear performed live. Ethan Hardy Benson and his strong rock vocals gave grit to Pontius Pilate's difficult dilemma in "Trial by Pilate." This song peaked in that awesomely-staged scourging scene where Pilate counted down each lacerating lash of the whip one by one, all the way to 39. Erich W. Schleck's King Herod and his wacky, gold-plated, high-heeled, drag-flavored, campy fun song and dance number was a welcome comedic respite halfway in the heavy second half. 

When Jesus called shaven-headed Will Silver as "Simon," some viewers (like me) may be mistaken to think that he was playing Simon Peter. However, he was actually singing as Simon the Zealot, inciting Jesus to lead the Jews to rise against Rome. By the Last Supper scene that opened Act 2, it would be clear that Simon Peter really was someone else. This was when Thomas McFerran walked in playing his guitar, leading the apostles to sing about all their "trials and tribulations, sinking in a gentle pool of wine."

I watched the matinee on the second day of its run. Even so early in its run, Sheader's show flowed efficiently, with no transition delays nor sound glitches. The whole show finished in two hours, including a 20-minute intermission in between. The interactions of the actors and musicians were so fluid, especially during scenes of complex vocal harmonies and choreography, such as "The Temple" and "Superstar." The unexpected final scene potently left a quiet question about Jesus's redemptive mission and Judas' key role in its fruition. 

Ethan Hardy Benson (Pilate) with King, Bess and Pangilinan 

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JESUS CHRIST SUPERSTAR runs at the Theater at Solaire from May 2 to 31, 2026, with shows from Tuesday to Friday at 8 pm, Saturday 3 pm and 8 pm, and Sunday 1:30 pm and 6:30 pm. Tickets available at TicketWorld. Ticket prices range from P7,400, P5,600, P4,900, P3,700, P3,400 and P2000 for weekend shows, with lower prices P6,800, P5,000, P4,000, P3,400, P3,100, P2000 for Tuesday to Thursday shows.

The arrival of Luke Street, the actor initially announced to play Jesus, has been delayed due to unavoidable family circumstances. He will be taking over the role of Jesus later this week. The actor whom I saw perform as Jesus, Joshua Bess, is Street's understudy, who certainly proved himself stellar enough in the title role. Bess is also named as understudy for Pilate. 

Aside from Bess, Schleck, Silver and McFerran, the Ensemble includes Ashley Chafer, Filippo Coffano, Kalei Cotecson, Joshua Dormor, Savannah Fisher, Elizabeth Fullalove, Icis Hammond, Jake McPhee, Jessica Meegan, Caroline Perry, Sandy Redd, and Jordan Michael Todd, with Swings Lydia Ruth Dawson, Brittany Dowd, Cameron Kuhn and Darren Robinson. 

The creative team working under director Timothy Sheader include choreographer Drew McOnie, costume designer Tom Scott, musical supervisor Tom Deering, lighting designer Lee Curran, and sound designer Nick Lidster. 

AE: Review of SANTA JUANA NG MGA KATAYAN: Martyr of the Meat Market

May 2, 2026

Pedro Sakmal (Lee Gosuico) did not exactly like the dark and dirty nature of his business. However, since he was the big boss of the biggest slaughterhouse in town, his decisions influenced all the developments of all the people who did business with him -- the workers, the meat packers, the ranchers. He was lecherous and ruthless, qualities which his close associate Soro (Melvin Calubiran) would push further.

Juana (Tini Quadra) belonged to a religious charity organization calling themselves "Itim na Salakot," led by Paulo Sarmiento (Philippe Reyes). Of all the members, Juana was the one who actively preached to the poor about God. However, she observed that they were very much affected by their hunger and financial woes to pay any attention to religion. She decided to go talk to the root of their problem -- Sakmal himself. 

The original play upon which this latest production of Ateneo Entablado was based is "Saint Joan of the Stockyards" by German playwright Bertolt Brecht, known for his exploration of politics in theater plays that provoke critical thinking about social injustice. The lead character was inspired by St. Joan of Arc, but transposed the battles of the tragic divine-led peasant teenager from Siege of Orleans to the trading floor of the Livestock Exchange. 

The Meat Packers

This Filipino version was translated by no less than prolific Ateneo-based playwright Guelan Varela Luarca, whose name on the marquee alone guaranteed a thought-provoking time at the theater. We are more used to Luarca's emotional treatment of intimate interpersonal relationships, his translation still managed to make us connect to this complex Brechtian play, even as it was loaded heavily with the jargon of business economics. 

The name of antagonist Pedro Sakmal was derived from the original Pierpoint Mauler. Meat packers now carry typical Filipino surnames Garcia (Elle Quinto), Dela Cruz (Kyle Tano), Reyes (Mik Cadag), Cruz (Ron Abustan). The mission "Itim na Salakot" led by Paulo Sarmiento was originally "The Black Straw Hats" led by Paul Snyder. Oppressed housewife Gng. Kinulangan (Sam Saquilayan) was originally called Mrs. Luckerniddle. 

This play boasted of an all-student cast, who gave their all to bring this demanding, wordy, and lengthy (3 hours long!) script to life. Gosuico, the actor playing Sakmal, was so young, he still needed to wear a false beer belly to look more sleazy. Aside from all the chaotic shouting, there were those Brechtian singing interludes. The most recognizable song sung was one by Aegis, for which guitarist-singer Martha (Jam Asombrado) invited the audience to sing along.

The production team was headed by co-directors Delphine Buencamino and Issa Manalo-Lopez. The interior of the Fine Arts Black Box of the Old Communication Building was converted by set designer Wika Nadera and lighting designer Aldrie Valmonte into a grim, dreary, bloodstained butcher factory, complete with pig carcasses hanging on the wall. The class-and occupation- coded costumes were designed by Tata Tuviera. 

Pedro Sakmal (Gosuico) and Juana (Quadra)

This play was originally written by Bertolt Brecht almost 100 years ago, and yet the socio-economic drama it presents remains timely up to our present day. Brecht wrote plays like this with the hope that his audience will be encouraged to effect change in injustice and exploitation going on in our world. We remain optimistic that the yawning gap separating the rich from the poor may someday became narrower as a result of proactive action. 

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SANTA JUANA NG MGA KATAYAN by Ateneo Entablado runs weekends from April 19 to May 3, 2026. Show times at 7:30 pm, with 2:00 pm matinees on Saturdays and Sundays.