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 when Zach let them dance in groups of three. Angelo Soriano (as dance prodigy Mike Costa) did a spectacular high jump kick move when he had center stage. 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 performance, 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). 

Barefoot: Review of ANTHROPOLOGY: Computerized Catharsis

March 13, 2026

Barefoot Theater Collaborative's offering for Women's Month this year is a play written by a female playwright Lauren Gunderson, directed by a female director Caisa Borromeo, and starring an all-female cast of four. Gunderson described "anthropology" as "a feminist sci-fi thriller that asks how we imagine the future and who is allowed to survive it." Borromeo called it "a play about connection - between sisters, ... between logic and emotion." This play is best appreciated going in blind, so SPOILER ALERT before reading further.

Software engineer Merril (Jenny Jamora) was the legal guardian of her younger half-sister Angie (Maronne Cruz) who had mental health issues. One year ago, Angie never came back from school and was eventually given up for dead by the police investigating her case. Merril never moved on from her loss, and decided to "resurrect" Angie by programming an algorithm fed with all the data Angie had on her phone and laptop. 

Seeking closure, Merril asked "AI Angie" to tell her more details about the day Angie disappeared. As required by "AI Angie," Merril needed to reconnect with her ex-girlfriend Raquel (Mikkie Bradshaw-Volante) and their estranged mother Brin (Jackie Lou Blanco) to ask if she could access their devices for more digital information which may help. Then one day, from out of left field,  "AI Angie" came up with a startling theory. 

In the middle of the black box theater was a raised circular stage. There were tracks on its outer rim, so Merril can move her box furniture around. There were four monitors strategically-located around the stage, where we can all see AI "Angie." The most mesmerizing feature of Sarah Facuri's set was this big white disc that moved above the main stage, which created an illusion of technological futurism, as enhanced by D Cortezano's lighting effects. 

The Stage

Jenny Jamora is not new to futuristic plays, as she had once played a detective investigating online crime in "The Nether" (Red Turnip, 2017). Her Merril was hoping her "AI Angie" can somehow help her move on from her sister's death, but her science project actually opened up more wounds -- between her, her sister and people around them.  Always the sensitive actress, Jamora totally surrendered to Merril's pain and passion to see things through.

Maronne Cruz has been a standout performer in all the productions I've seen her in, even in smaller roles, like the prophetic raven from "Horse and a Boy," the worldly maid in "Othello," the sexy stewardess from "Company," the neurotic friend from "Waitress," to last year's "We Aren't Kids Anymore." Her role as Angie has got to be the most impactful role even if most of it was as a AI avatar on a computer monitor, saving her best for the powerful finale. 

MIkkie Bradshaw-Volante's Raquel was left out in the cold when Merril prioritized her sister's death over their relationship. Bradshaw-Volante was able to portray the nuances of a woman caught between still being in love with a former lover and her own testy relationship with said lover's sister. Film actress Jackie Lou Blanco tackles a thankless role of a repentant mother whose drug addiction caused her to abandon her daughters in the past. 

The Cast at the Curtain Call

AI is truly dominating the way we live in this generation. You can ask your phone's AI app any question and it can answer back with full details almost spontaneously, in any language. People have made their AI apps their personal friend who can provide a shoulder to cry on and words of advice or solace. Gunderson provokes thought of AI "replacing" a departed loved one, but also warns us about the risks of losing true human connection because of it.   

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"anthropology" runs from March 13 to 29, 2026 at the Doreen Black Box Theater in Arete in the campus of the Ateneo de Manila University. Tickets at P2500 (Premium) and P2200 (Regular), from Ticket2Me (LINK).  They implement a 𝚂𝚃𝚁𝙸𝙲𝚃𝙻𝚈 𝙽𝙾 𝙻𝙰𝚃𝙴 𝙰𝙳𝙼𝙸𝚂𝚂𝙸𝙾𝙽 rule because of the intimate nature of the play. Latecomers will not be admitted once the show has started.  The play runs for 1 hour and 40 minutes without an intermission. 

Here are the links to my reviews of the two other plays by Lauren Gunderson that I have seen:

SILENT SKY (Repertory Philippines, 2018) (LINK)

THE HALF-LIFE OF MARIE CURIE (MusicArtes, 2024) (LINK)

IdeaFirst: Review of ABOUT US BUT NOT ABOUT US (2026): Moral Manipulation

March 9, 2026

In 2023, the first (and so far, only) Summer Metro Manila Filmfest was held. Best Picture was a film entitled "About Us But Not About Us," which also won Best Director and Best Screenplay for Jun Robles Lana, and Best Actor for Romnick Sarmenta. This was practically a two-hander, with Sarmenta and co-star Elijah Canlas sitting at one table in a cafe talking throughout the length of the film. Many viewers felt as if they were watching a play, and now, three years later, Lana himself adapted his screenplay to become a real play, directed by Tuxqs Rutaquio.  

Ericson (Romnick Sarmenta) was a gay 40-something English Literature professor in UP. He had a 22-year old student Lancelot (Elijah Canlas), who was being physically abused by his stepfather. Concerned for the boy's safety, Eric allowed Lance stay in his condo unit. Eric's partner of 17 years, Marcus (Epy Quizon), disapproved, finding the arrangement very inappropriate. Coincidentally, Marcus was Lance's favorite Filipino author, hailing him as the "Nick Joaquin of his generation." One day, Marcus died from a drug overdose. 

For those who have seen the film, watching Sarmenta and Canlas relive their characters Eric and Lance on the stage was surreal. Watching the film already made us feel very queasy, but actually eavesdropping on their conversation on stage was more intensely discomfiting. Eric was compassionate by nature, and Sarmenta portrayed Eric's helplessness so well, even shedding real tears.  Lance was not as innocent as he looked, and Canlas's subtle transitioning between opposite nuances was impressive.  

In the film, Marcus was just a topic of their conversation, or when there was a "flashback" about him, either Sarmenta or Canlas would "become" him. In this play, Marcus is a fully fleshed out character played by a third actor. The effortlessly realistic way Epy Quizon portrayed this complex literary genius finally made Marcus a three-dimensional tragic figure. HIs death was underlying reason why Eric and Lance met. As Quizon's stage presence was so strong, we certainly felt Marcus's presence even when he was mostly offstage.  

Except for a few minor edits in some scenes, the lines spoken in the play followed those in the film almost to the letter, gripping as ever, maybe more. However, since the pacing of the play was rather slower than that of the film, that may give the audience a little more time to ponder about certain details, from why a jarring confession of an alter Twitter account had to be revealed, to how a completed masterpiece novel like "Teorya ng Mga Tanong" could have been based on people who have not known each other that long at that point. 

Sarmenta, Canlas and Quizon at the curtain call. 

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The IdeaFirst Company 's ABOUT US BUT NOT ABOUT US ran from February 14 to March 8, 2026 at the Power Mac Center Spotlight Blackbox Theater, Ayala Malls Circuit, 2F Circuit Lane, Makati City. Tickets cost P3,920 (VIP), P3,360 (Orchestra Center), and P2,800 (Orchestra Side) via Ticket2Me. 

Alternate cast included Noel Rayos (for Eric), Jao Catarus (for Lance) and Andoy Ranay (for Marcus). Supporting cast included Jack Denzel Gaza and Herbie Go (as the waiter) and Geraldine Villamil (as the chair of the UP English Dept.). Strictly for mature audiences only.    

After the closing show, producer Perci Intal announced that there will be a rerun of ABOUT US BUT NOT ABOUT US on October 9 to 25, 2026. 

TP: Review of MABINING MANDIRIGMA (2026): Scintillating Shaira

March 7, 2026

"Mabining Mandirigma: A Steampunk Musical," with book by Dr. Nicanor Tiongson and music by Joed Balsamo, was first staged in 2015, retelling the life of Apolinario Mabini from his academically-gifted youth in Lipa, Batangas, to his days as the confidante and adviser of Pres. Emilio Aguinaldo in 1898 to his death at age 38 in 1903. This historical story from the turn of the 19th century was told with an eye-catching steampunk production design. It swept the Gawad Buhay awards, winning in 12 categories, including Outstanding Original Musical. 

One of its most distinctive features was the casting of a female actor to portray the male lead character Mabini. This bold casting decision came about because they wanted Mabini's voice to stand out among the male characters he interacted with in several key scenes. Delphine Buencamino originated this role in 2015 in an award-winning turn. In succeeding restagings, Liesl Batucan and Monique Wilson with understudy Hazel Maranan, have also taken on this challenge over the years, and every one of them turned in strong successful performances.

For this latest revival, it was Shaira Opsimar's turn to play Mabini.  She just recently hit a career high in 2024, when she won the Gawad Buhay for Best Female Lead Performance in a Musical for "Walang Aray." Last year, she displayed more of her awesome belting prowess in NWR's "Delia D." and Arete's "Si Faust." Aside from the intense dramatic moments in the book as Mabini dealt with frustrating and maddening situations beyond his control, the songs Mabini had to sing pushed Opsimar to the lowest and highest limits of her extensive range. 

On opening night, Emilio Aguinaldo was played by David Ezra, who had been alternating in this secondary lead role with originator Arman Ferrer from the 2016 restaging to this present one. Classically-trained power tenor Ezra brought dignity to this role who had to balance the idealistically patriotic advice of Mabini with the essential financial support promised by the Illustrados. His highlight  was "Pagbibitiw ni Mabini" where Miong has to belt incredible high notes steeped in emotion, reminiscent of "Gethsemane" in "Jesus Christ Superstar." 

The Illustrados in this new production are played by MC de la Cruz (as Pedro Paterno), Jonathan Tadioan (as Felipe Buencamino), Roby Malubay (as Benito Legarda) and Marco Viana (as Felipe Calderon). As before, they stole their scenes with their snarky lines and snappy funk choreography. This time, their costumes and make-up looked more androgynous that how I remembered them from before. The Illustrados also had powerful songs to sing, but just when I thought we'd finally hear Marco belt, he would shift to speak singing. 

The role of young Pule was usually played by a male actor -- Marco Viana in 2016, Phi Palmos in 2016 and Paw Castillo in 2019. This time, they were inspired to cast an actual young singer-actress Ynna Rafa as Pule, consistent with a female adult Mabini. One of the strongest female singing voices in local theater -- Ms. Tex Ordonez-de Leon -- played Pule's mother Dionisia. Gelo Molina (alternate is Earvin Estioko) played Pepe, the caretaker of disabled Mabini after polio, still armed with a sense of humor and a sense of hope for the youth of the country. 

As this smaller stage of the Tanghalang Ignacio Gimenez was more up close to the audience than that in the old CCP Little Theater, everyone and everything -- Sir Toym Imao's steampunk set and props, the late James Reyes's costumes, the late GA Fallarme's projections, the actors' hairstyles and makeup -- can be more clearly appreciated in deeper detail.  The rest of the Artistic Team includes Denisa Reyes and Richardson Yadao for Choreography, TJ Ramos for Sound and Musical Arrangement, and Roman Cruz for Lighting. 

The ensemble includes Lhorvie Nuevo-Tadioan (also Dance Captain), Anya Evangelista (also Understudy for Apolinario Mabini), Mark Lorenz (Swing), Sarah Monay (Swing), Rey Corregado, Heart Puyong, Murline Uddin and Sofia Sacaguing. As before, the show still ended with the cast going out of character to enumerate current socio-political issues which parallel those during Mabini's time. Like Mabini, we should not be cowed to speak out about them. Judging from the rousing audience reaction to that finale, that message was loud and clear.   

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Tanghalang Pilipino's "Mabining Mandirigma: A Steampunk Musical"  runs March 6–29, 2026 at Tanghalang Ignacio Gimenez, Cultural Center of the Philippines Complex, Pasay City. Tickets (at P2000 for VIP and P1800 for Regular) can be bought from show buyers (LINK), Ticketworld (LINK) and Ticket2Me (LINK). 

My review of the 2015 maiden production of "Mabining Mandirigma" is posted HERE. 

   

Teatro Meron: Review of WAITING FOR GODOT: Dallying in Despair

February 10, 2026

Camping beside a bare tree were two homeless men dressed in rags named Vladimir (nicknamed "Didi") and Estragon (nicknamed "Gogo"). They talked about a lot of nothing and did a lot of silly activities to spend their empty days as they were waiting for the expected arrival of the mysterious Godot. To break their monotony, they encounter haughty master Pozzo and his leashed slave Lucky, and a Boy who had one message to deliver.  

Fledgling theater company Teatro Meron debuted last year with absurdist play "Sopranong Kalbo," a Filipino adaptation of Eugene Ionescu's "The Bald Soprano" (1950). This year, they aimed higher and went directly for the best-known of all absurdist plays -- Samuel Beckett's "Waiting for Godot" (1953). It had once been hailed as "the most significant English-language play of the 20th century," a reputation that makes this a must-watch for all theater fans.

Previously, Didi and Gogo had been played by such acclaimed actors as Steve Martin and Robin Williams, Sir Patrick Stewart and Sir Ian McKellen, and just recently, Alex Winter and Keanu Reeves. The whole play is anchored on the back and forth conversations of these two chaps, whose tramp costumes, as well as sense of humor imbued with pathos, were inspired by silent film comedians, like Charlie Chaplin, Buster Keaton and Laurel and Hardy. 

Tarek El Tayech and Jj Ignacio play Didi and Gogo. They are not exactly as famous as the aforementioned Hollywood movie stars were, so it is a bigger challenge for them to make their Didi and Gogo lovable and sympathetic to local audiences. Act 1 may be tough to get into at first, especially as their interactions seemed monotonous and pointless. But by Act 2, El Tayech and Ignacio had succeeded to thoroughly endear their characters to us. From "Stage Kiss" (2020) to "Othello" (2024) to now, El Tayech has been as intense as he is versatile. 

The over-the-top pair of Pozzo and Lucky tended to steal scenes from our leads when they come on. In Act 1, upon Pozzo's order to "Think," heretofore mute Lucky launched all his long-repressed thoughts into a lengthy tirade of gobbledygook. In Act 2, Pozzo passionately bemoaned his fate as he suffered a debilitating physical handicap. John Bernard Sanchez and Lenard Tiongson understood Pozzo and Lucky, and fully inhabited their bizarreness. 

Before each act ended, Yael Ledesma appeared as the Boy, with that naughty smile plastered on his face. He came in just to tell Didi and Gogo that Godot was not coming that day. How he received this message from Godot was in itself a big question. How many days had he been coming around to deliver that bit of unwelcome news for Didi and Gogo -- news that would once again render their whole day of waiting totally meaningless?

This plotless play may not be for everyone, but Capinding's style of direction made the challenging material accessible without spoon-feeding. Still, a few may not have the patience to even get through the first act.  Some may see meaning in the props -- the tree, the hats (that hilarious hat-passing scene!), Gogo's shoes, Lucky's luggage, all the rope. However, most of us will wax philosophical about the repetitive routines of our mundane lives with days passing us by so fast as we wait with uncertainty for the fulfillment of our dreams. 

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Teatro Meron's "Waiting for Godot" runs from February 13 to March 1, 2026 at the Special Exhibition Hall, The Mind Museum, Bonifacio Global City (BGC), Taguig. Tickets at P2000 via Ticket2Me at this LINK. 

This show is co-produced by Eastern Communications and Tunog at Liwanag ng Teatro (TLT), with support from Alfred Vargas and the Ateneo de Manila University Department of Philosophy.

PETA: Review of KISLAP AT ALGO: From Myths to Memes

January 30, 2026

The two one-act plays of this twin bill were first staged by PETA in 2024, two of eight new works under the title of "Control + Shift: Changing Narratives, Reclaiming and Reshaping Stories." The next year, only Dominique La Victoria's "Kislap at Fuego" and Mixkaela Villalon's "Children of the Algo" were chosen to be staged in "Control + Shift 2025." 

This year, the same two plays are again re-staged under the new title "Kislap at Algo." This rationale is best expressed in the words of PETA Artistic Director J-mm Katanyag, "By placing folklore beside feeds, myth beside memes, this pairing embodies Control + Shift’s narrative change approach by asking how tradition and technology collide, converse, and co-exist, and how Filipinos continue to imagine revolution in a rapidly shifting world."

KISLAP AT FUEGO

Directed by Maribel Legarda and J-mee Katanyag. 

Written by Dominique La Victoria

Filipino adaptation and dramaturgy by Bienangela Mapagu. 

Ten days before her birthday on New Year's day, a feisty young woman named Gabriela (Felicity Kyle Napuli) went into the forest where the Kapre (CJ Novato) lived. Her father picked mangoes from the tree of the Kapre, so the creature asked for Gabriela as his servant as the payment for the crime. When Gabriela entered into the Kapre's world with her sack of books, she met Kapre's two minions -- Pipay (Carlon Matobato) and Leron (Ekis Gimenez) -- who seemed to know something about her that she didn't.  

Dominique La Victoria gave this hour-long play plenty of elements -- Filipino folklore, the Catholic religion, the Spanish occupation, and the Philippine Revolution, with special mention of Dr. Jose Rizal and his "Noli Me Tangere." The production design of Boni Juan (with the set of Kapre's forest and the costume) was impressive, as enhanced by the lights of Rafa Sumilong and the projections by Bene Manaois. There was also puppetry and shadow play involved, accompanied by the ethereally atmospheric music and sound by Kabaitan Bautista.

Too bad I was not able to see this play in 2024 and 2025, starring real-life couple Kim Molina as Gabriela and Jerald Napoles as the Kapre. However, the new actors Novato and Napuli also made a great romantic pair (despite their 10-year age gap), as evidenced by the thrilled screams of kilig heard whenever they had looked in each other's faces or shared an intimate moment. Matobato and Gimenez (the only one left from the original cast) were very funny, whether as Kapre's sidekicks or as Guardia Sibil. 

CHILDREN OF THE ALGO

Direction and Production Design by Johnnie Moran

Written by Mixkaela Villalon

Dramaturgy by Mikaundre Gozum Santos

They were Gen Z online content creators. BPO executive Yani (Nyla Festejo) talked about life and lifestyle topics. College student Jen (Frances Marie Akol) talked about art, beauty and food reviews. Graphic artist Owen (James Pe Lim) talked about gaming and sigma manhood. Fast-food server Mark (Otep Madriaga) was a gay provinciano who talked about his experiences in the big city.

At first, everything was light and happy, but soon. the harsh realities of life wormed into their content -- from the country's decreasing birth rate to reasons why Filipino youth have no ambition, from being a troll, to how monthly salary and expenses are not "mathing." As Yani, Festejo exuded an air of class. Akol gave Jen a down-to-earth vibe. Pe Lim (the only holdover from the original cast) and his bruh Owen were as cool and controversial as ever. Madriaga delivered the play's most sobering messages, but his Mark did so with campy flair. 

The main content of the play are basically the same since when I saw it first in 2024 -- the curated online personalities and their favorite hashtags.  For sure, the script had been updated with current memes, from "6-7" to flood control. The set consisted of a two-tiered movable metallic frame with multipurpose boxes on which the four actors weaved in, out and around. The lights of Rafa Sumilong would flicker and the sounds of JJ Valerio had static whenever the characters rebelled against the status quo -- an ominous warning about the dangers online. 

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Tickets are available via this LINK. Prices are ₱1,800 (VIP), ₱1,400 (Orchestra Center), ₱1,100 (Orchestra Side), ₱1,400 (Balcony Center), and ₱1,000 (Balcony Side). 

SHOW DATES AND TIMES

Tue, 27 Jan. 2026 – 9:00 AM

Wed, 28 Jan. 2026 – 11:00 AM

Thu, 29 Jan. 2026 – 11:00 AM

Thu, 29 Jan. 2026 – 4:00 PM

Fri, 30 Jan. 2026 – 9:00 AM

Fri, 30 Jan. 2026 – 4:00 PM

Sat, 31 Jan. 2026 – 9:00 AM

Sat, 31 Jan. 2026 – 2:00 PM

Tue, 3 Feb. 2026 – 9:00 AM

Wed, 4 Feb. 2026 – 9:00 AM

Thu, 5 Feb. 2026 – 9:00 AM

Thu, 5 Feb. 2026 – 2:00 PM

Fri, 6 Feb. 2026 – 9:00 AM

Fri, 6 Feb. 2026 – 3:00 PM

Review of BAGETS THE MUSICAL: Adolescent Anxieties and Angst

January 24, 2026

In 1984, "Bagets," a coming-of-age film written by Jake Tordesillas and directed by Maryo J. delos Reyes, was released by Viva Films. It starred William Martinez, JC Bonnin, Herbert Bautista, Raymond Lauchengco and Aga Muhlach as a close-knit gang of unruly high school seniors going through various problems with parents and girlfriends. It was a big success at the box office, launching the careers of these young actors, especially Muhlach. 

After spawning an immediate sequel (also in 1984), as well as a remake television series (2011 to 2012), it was inevitable that a stage adaptation would also happen and it came into being this year. Because it also had a best-selling soundtrack album of popular hit songs, it was logical that this theatrical version would be a musical. It a production of Newport World Resorts with The Philippine STAR and Viva Communications, staged by PETA Plus. Leading the creative team are director Maribel Legarda. The colorful 1980s era costumes were designed by Hershee Tantiado, while the retro 1980s choreography was by JM Cabling. 

The script written by J-mee Katanyag followed the story of the film faithfully. Things started with their expulsion from exclusive school and transfer to a new school for senior year, but Tonton here seemed to be an old friend already, not Topee's cousin that they just met. They also drove around the city, and all the way to Baguio, in an actual red motorized dune buggy. Details like Tonton's family speaking in Ilocano and Topee's family speaking in Hiligaynon were left intact. Lines like "Vienna sausage na lang" and "spaghetti for long life" were lifted verbatim. Katanyag did tweak the final mother-son scenes of all the boys so they felt more emotionally-impactful now than how they were written in the film. 

As expected musical director Vince Lim used hits from the original film soundtrack to be sung in this musical. Of course, Gary V. original "Growing Up" was still the opening song number. Chona Cruz's version of Sheena Easton's "Telefone" was performed in a fun scene with the whole ensemble. Raymond Lauchengco's two big hits "So It's You" and "Farewell" was sung during the same circumstances as the film.  Other songs may not exactly be scenes where you may expect them to be. The JoBoxers 1983 hit  "Just Got Lucky" became a comedy song number about hilarious Gilbert's circumcision experience, with a giant syringe and all. 

Surprisingly, the producers were also able to license a number of major 1980s hit songs for the show. Ivy's scene watering the garden became a number with dancers dressed like flowers set to the tune of Torch's 1983 version of "Build Me Up Buttercup." A-ha's 1984 hit "Take On Me,"  Madness' 1983 hit "Our House," Wham's 1984 hit "Wake Me Up Before You Go-Go," Industry's 1984 hit "State of the Nation," Ric Segreto's 1982 hit "Loving You" and even the traditional holiday hymn "Silent Night," were all re-arranged with new additional lyrics. Some new lyrics, English and Tagalog, could not be understood well while being sung, so they sounded awkward, especially those ballad versions of upbeat songs as reprised in Act 2. 

Oddly, most scenes were set in the boys' homes, not in school. The centerpieces of Ohm David's production design were three huge two-storey modules which where moved around an held together by hard-working stage crewmen. Each module had one room on top of another with stairs where various characters (especially the Father) going up and down to go from one "house" to another. These modules were also repurposed to represent other places, most notably the disco where they spent New Year's Eve, as enhanced by Jonjon Villareal's lights and Bene Manaois's video projections. There was also two giant sliding panels that divided downstage from upstage and these were used in startling effect in the accident scene. As this was only the second show of the run, there were some set and sound hitches, which should be addressed in future shows. 

The members of this gang were: Tonton (Migo Valid, alternate Milo Cruz) was the oldest, having already repeated fourth year high school. Topee (Jeff Moses, alternate Sam Shoaf) was the martial law enthusiast. Gilbert (Tomas Rodriguez, alternate Noel Comia, Jr.) was the class clown. Arnel (KD Estrada, alternate Ethan David) was the spoiled rich kid. Adie (Mico Chua, alternate Andres Muhlach) was the romantic boy-next-door type. Among the five boys I saw, Estrada and Chua were the most assured in singing and acting, as the others still had obvious stage neophyte self-conscious jitters. Moses (whom I first knew from his film "Under the Piaya Moon") was impressive with his flying kicks. Rodriguez's slapstick comedy scenes did connect well with the girls in the audience. 

Very much in focus for this musical are the relationships of the boys with their mothers, who became mahjongg-mates themselves. Business owner Delia (Kakai Bautista, alternate Natasha Cabrera) was the mother of Tonton. Film actress Ana (Neomi Gonzalez) was the mother of Topee. Housewife with a buy-and-sell sideline Luz (Ring Antonio) was the mother of Gilbert. Society matron Ditas (Mayen Cadd) was the mother of Arnel. Busy writer Virgie (Carla Guevara-Laforteza) was the mother of Adie. In a cute casting gimmick, the fathers of all the boys were only played by one actor -- Gie Onida. These actors are all tried-and-true veterans stage actors and singers, no question that they all nailed their roles as written. 

Playboy Tonton got hopelessly smitten with smart sensible Rose (Yani Lopez). Gilbert can't express his feelings for cheerful Melissa (Brigitta Marilla). Arnel's aristocratic attention was caught by student activist Janice (Sam Marasigan). Adie fell head over heels over his mother's married friend who moved in next door, Ivy Christine (Ava Santos). In the original film, Ivy and Christine were two older women who got involved with Adie and Topee respectively, but they were integrated into one character here. Frankly I did not really feel any instant romantic chemistry between any of these pairs yet, but I believe this chemistry will eventually improve the more shows they play together. 

The rest of the ensemble playing the teachers, housemates and classmates include Yna Arbiol, Andrea Babierra, Jana Baniasa, Misha Fabian, Mia Micucci, Air Paz-Pablico, Abi Sulit-Racho, Ada Tayao, and Abegail Turiano, Jon Abella, Ivan Arboladura, Roi Calilong, Carlos Canlas, Jay Cortez, Moi Gealogo, Gerald Magallanes, John Moran, Arnel Sablas, Vyen Villanueva, and Dan Wesley. Towards the end of the second act, Moran and Calilong, playing officers of the Parent-Teacher Association, broke the fourth wall to address the audience directly for a fun interactive activity which had everyone (yes, including me) up and enjoying. 

Teenagers of the mid-80s who stanned the original Bagets cast are all pushing age 60 now. Watching those iconic 80s songs and dances being performed onstage can surely make them relive their own high-school memories. Granted Gen X may not know any of these new Bagets boys, except perhaps they are curious to see Andres Muhlach play the same role his father Aga played.  However, seeing the whole audience in the Newport Performing Arts Theater getting up from their seats and dancing "Just Got Lucky" and "Growing Up" in unison was certainly proof positive enough of this show's undeniable fun, irresistible nostalgia appeal. I am just hoping that the boys get would over their opening week nerves to be able to perform, especially sing, with more on-point focus in the coming shows. 

The whole cast at the curtain call

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"Bagets The Musical" runs from January 23 to March 2026 at the Newport Performing Arts Theater. It is produced by the Newport World Resorts with Philippine STAR and VIVA communications, and staged by PETA plus, in cooperation with Sun Life Philippines.