I’m a fan of “Bar Boys: The Musical,” written by Pat Valera (book and lyrics) and Myke Salomon (lyrics and music), based on the film by Kip Oebanda, and directed by Mikko Angeles, since its two runs at the PowerMac Spotlight Theater in Circuit Makati. It was inspiring, funny, and poignant (I remember crying both times I saw it). The music was great filled with all-new, all-original songs, and the performances were stellar. It was a great show. But now that it has moved to the Hyundai Hall at the Areté Theater, the show has transformed into a big, bold musical where the larger scale amplifies everything that was already great about the production.
In a larger theater, the creative team went all out. The production now features larger set pieces that are wheeled in, a larger video projection on screen right behind the cast as they are performing, more space for its hardworking ensemble to fill, and new heights as the set pieces are as high as two stories allowing the staging to be as tall as its scope is wide.
Now staged on a proscenium, the direction is now fully directed toward the audience rather than contained at the center, as it was in the original traverse staging (a long platform with the audience on both sides). This shift allows the show to fully project its idealism, realism, and inspirational message straight to the crowd for full effect.
“Bar Boys: the Musical” tells the story of four friends – Erik, Chris, Torran, and Josh – who enter law school together with the hopes of changing the world a better place. But each of our leads have their own battles to face. Erik comes from a humble background and money is tight. Chris hides a secret about his background, which also fuels his need to make the world a better place. Torran, raised by a single mother, feels the pressure of living out his mother’s dreams while he is discovering who really is. Josh, who hails from the province, wants to be an environmental lawyer but his idealism gets in the way of the reality of the law.
The show is impressive by being intersectional, tackling various issues like the class divide, the power and the abuse of the law, corruption, acceptance, and waking up to a harsh world; all of this without being scattered or confusing. The narrative has a spot for each of the four characters, a case that becomes the catalyst for the growth of some of the protagonists, all the while portraying the exacting demands of law school and passing the bar.
By giving the ensemble moments to portray other law students, we see the various dreams and hopes that people have that widen the scope of the play. There’s something for everyone here, but it never feels like it is only touching the surface. The emotions that it evokes are not from shallow, easy plot points. The struggle is real. There are scenes and songs that emphasize it so when a loss is felt, it hits hard. When a victory is achieved, that feeling reaches out to the audience in full.
With a larger space and the audience gathered in one direction, Angeles is able to create spectacles and meant to be witnessed. The actors can now interact more freely, exchanging knowing looks when making throwing politically charged jokes or when a scene feels like it is talking to the audience.
With the bigness of the theater, the tiniest and most intimate scenes – like the ones shared by Erik and his father or Justice Hernandez, the toughest but most important teacher the lead characters meet – become these powerful turning points that emphasize the narrative beats. In the smaller venue, we feel like voyeur peeking into private moments. On a proscenium stage, we feel permitted to watch allowing us to fully react and feel what these scenes evoke in us to feel.
Most of the cast from the previous runs have returned, and they wear these roles like a second skin. Alex Diaz, who plays Chris, has a confidence that defines his character, which also makes him a little forceful, leaning into domineering. Jerom Canlas, who plays Torran, is having more fun with the character, working with physicality and gestures to show how his character’s hidden nature is a lot more visible to everyone but himself. Josh is always a fan favourite and Omar Uddin has charm by the boatload and he uses this to fill the stage. Juliene Mendoza, who plays Erik’s father Peping, and Gimbey Dela Cruz, who plays a dual role of Torran’s mother and a lady who Josh befriends, are such solid performers that they help the show hit its most poignant moments.
But the two who truly rise to the new scale of this production are Benedix Ramos as Erik and Sheila Francisco as Justice Hernandez. Ramos manages to layer his portrayal of Erik in such a way that even his moments of weakness are felt even when he’s keeping it inside. He vascillates from big emotions to small emotions and all of it are picked up on stage that he has the most dynamic of performances. He has such a gift that allows him to work small but can project it big so that its seen and heard and felt all the way to the back of the audience.
Francisco, on the other hand, who has played Justice Hernandez as a wise, older mentor, with a calm energy, now plays her as a rockstar in field of law. She’s brazzy, she’s tough, she’s admired, and she knows it. She comes in like a force of nature and embodies the reason why every character in the play is so in awe of her.
So, it’s equally amazing when, in the more somber moments, she becomes a nurturing, tender soul that can inspire the lead characters in their darkest moments. It’s a powerhouse performance that shows, Francisco has been holding it back in the smaller venue in fear of tearing it down with her power.
On opening day, there were a few technical hiccups, and the new ensemble still needed to tighten their choreography and to temper their boundless energy. But these are easily fixed that will naturally smooth out with more performances. Even with these little flaws, the show is already such a triumph of theater. This is how “Bar Boys: The Musical” should be: big and bold. It’s an inspiring play that’s fun and moving and it truly deserves a venue grand enough and a production that can amplify its message to an even larger audience.
My Rating:
Catch Bar Boys The Musical in all its bold, inspiring glory as it takes over Hyundai Hall, Areté until November 23. With powerful performances, unforgettable songs, and moments that hit right in the heart, this larger-than-life production shines brighter than ever. Don’t miss it! Grab your tickets now via Ticket2Me.
