Tag: Repertory Philippines

You’re invited to the royal ball as REP presents Cinderella: The Tale of the Glass Slipper

Repertory Philippines (REP) is throwing a ball for young audiences and the entire family as it presents another fairytale adaptation with Cinderella: The Tale of the Glass Slipper. This year’s Repertory Theater for Young Audiences (RTYA) production showcases a story about kindness and courage—complete with a royal ball and plenty of twists along the way. Running from August 22 to December 13 at the REP Eastwood Theater, REP’s Cinderella will charm its way into your heart, and remind you that dreams really can come true.

Directed by Joy Virata and Cara Barredo, this new RTYA offering is a creation by Janet Yates Vogt and Mark Friedman who are the artists behind the show’s book, music, and lyrics. The duo is known for adapting beloved children’s stories into musicals, which include REP productions Alice in Wonderland and Snow White and the Prince.

Cinderella

Offering a fresh take on the classic fairytale, the production features eight main characters with quick and short scenes which are particularly crafted to keep the young audience engaged and entertained while delivering important lessons about consideration for others and resilience. Alongside fairytale favorites such as Cinderella, her Stepmom and two Stepsisters, as well as her Fairy Godmother and the Prince, the audience gets to meet a mischievous rat named Putterman who helps Cinderella in her journey.

Prince

For this staging, REP has lined up a company of seasoned theater actors, performers, and emerging stars. Sharing the title role of Cinderella are actress-singer Katie Bradshaw, Swiss-Filipina performer Ornella Brianna, and Ateneo Blue Repertory alumna and Star Magic trainee Julia Santiago.

Putterman

Alternating in the role of the Prince are Khalil Tambio and Radson Flores, with Lance Soliman as cover. Audiences can also look forward to the antics of Putterman, played by Stephen Viñas and Jay Pangilinan with Steven Hotchkiss as cover, whose scene-stealing character adds humor and heart to Cinderella’s adventure.

Fairy Godmother

The production also features Barredo and Mayen Cadd as the Fairy Godmother; Hans Eckstein, Hotchkiss, and Hades Kitane as Frederick; Pinky Marquez and Ring Antonio as the Stepmother with Cadd as cover; Arielle Magno and Barbara Jance as Stepsister 1; Sebastian Katigbak and Paul Atienza as Stepsister 2, with Jay Barrameda serving as cover for both stepsisters.

Stepmother

Rounding out the royal entourage and ensemble are Jill Tavanes, Lani Pelovello, Cheska Quimno, Bern Ignacio, Cydel Gabutero, Lucylle Tan, Julia Panlilio, Paula Paguio, Francis Gatmaytan, Godfrey Astronomo, Leanard dela Victoria, Kenny Isidro, Sean Nolasco, Vinz Cantillo, Johann Parungao, Jovito Bonita, Jae Valencia, VJ Cortel, DJ Buban, and Chesko Rodriguez, with Monica Tulio as female swing and Deo dela Cruz as male swing.

Stepsister 1

The creative and production teams are composed of artists whose creative vision transforms the classic tale into a magical experience brought to stage through immersive music, choreography, captivating costumes and set design. This team includes Ayam Eckstein as production and company manager, Viñas as choreographer, Phoebe Bitoon as musical director, John Batalla as technical director and lighting designer, Raven Ong as costume designer with Dreu Fernandez as associate costume designer,Lawyn Cruz as set designer, Johann Dela Fuente as hair and make-up designer, Dela Cruz and Gatmaytan as dance captains and assistant choreographers, Kayla Teodoro as puppet designer, and Jana Jimenez as projections designer with Gab Carmelo as associate projection designer. Jojo Amboy serves as the stage manager and Ronnie Cruz as assistant stage manager.

Stepsister 2

“Whether this is a child’s first theater experience or a family’s beloved tradition, REP’s Cinderella: The Tale of the Glass Slipperpromises everyone an unforgettable time at the theater. For this year’s RTYA, we are going to celebrate the power of compassion for others and the courage it takes to follow one’s dreams,” says Virata.

Frederick

Do not wait until the clock strikes 12 and grab the chance to witness REP’s Cinderella: The Tale of the Glass Slipper from August 22 to December 13 at the REP Eastwood Theater.

Tickets are now available at TicketWorld and the REP Box Office at the 4/F Eastwood Mall, open on Wednesday to Sunday from 1 p.m. to 8 p.m.

For show-buying and ticket inquiries, contact REP at 0966-9054013 or 0962-6918540 send us an email at promotions@repphil.orgor sales@repphil.org.

For updates and show schedules, visit www.repertoryphilippines.ph, or like and follow repertoryphilippines on Facebook and Instagram.

August 7, 2026
THEATER REVIEW: Repertory Philippines’ ‘Man of La Mancha’ Finds New Life in Incredible Staging and Quicker Tempo

I grew up listening to the Broadway cast recording of Man of La Mancha, the 1965 musical with music by Mitch Leigh, lyrics by Joe Darion, and a book by Dale Wasserman. The musical is the source of the famous song “The Impossible Dream,” and for some reason, I always thought the name Dulcinea originated from this musical. I also caught the 1972 film adaptation starring Peter O’Toole and Sophia Loren.

So while I was happy to learn that Repertory Philippines was staging a new revival, helmed by Nelsito Gomez as director and starring Nonie Buencamino as Miguel Cervantes/Don Quixote, I worried about whether the play could resonate with a modern audience. Does its light, whimsical touch on madness and positivity reflect our contemporary issues? Does it treat too lightly things we do not play around with so easily in 2026, like mental health and sexual assault?

REP officially stages the seminal classic Man of La Mancha, as reimagined by director Nelsito Gomez. The musical will have a limited run until June 28 at REP Eastwood Theater | Photo credit: Krizhal Daryl Ordas of Indio Creatives

Set in the late 16th Century during the Spanish Inquisition, Man of La Mancha begins as Miguel de Cervantes and his manservant, Sancho, are brought to prison to await trial. But in prison, the other prisoners there conduct their own mock trial.

Gawad Buhay winner Marvin Ong plays Don Quixote’s faithful squire, Sancho Panza, joining his master in his many adventures.
Photo credit: Krizhal Daryl Ordas of Indio Creatives

Because Cervantes is not just a former tax collector but a failed poet and author, the inmates quickly deemed him guilty. But Cervantes demands that he be given a chance to defend himself and presents his defense by performing a play.

In REP’s Man of La Mancha, Nonie Buencamino makes his grand musical comeback playing three characters: the fictionalized version of the famed writer Miguel de Cervantes, and his characters the old gentleman Alonso Quijano and the iconic knight-errant Don Quixote. | Photo credit: Krizhal Daryl Ordas of Indio Creatives

He invites the other prisoners to take on roles in the story of Don Quixote, played by Cervantes himself, a noble who, driven by madness, believes he is a knight. Quixote renames Aldonza, a waitress and part-time sex worker, calling her by the name Dulcinea and insisting she is a noble lady.

Esteemed classical singer and actress Katrine Sunga takes the role of Don Quixote’s muse, Aldonza, in Man of La Mancha.
Photo credit: Krizhal Daryl Ordas of Indio Creatives

Though he is widely ridiculed, his delusion begins to transform those around him, inspiring them to see the best versions of themselves. Yet, as Don Quixote wants to fight for a better world, his family tracks him down as his exploits have become the talk of the town and brought shame to their name.

Man of La Mancha features the timeless classic, “Dulcinea,” a song Don Quixote sings to Aldonza, a barmaid.
Photo credit: Krizhal Daryl Ordas of Indio Creatives

Much of Quixote’s delusions were originally meant to be taken as a comic relief; it was written in 1965, after all, an era with a far more flippant attitude toward about how mental health is treated in this musical. What makes Gomez’s direction is so compelling is that he does not shy away from it. He never treats madness for mere comic effect, choosing instead to explore the very real, harrowing ramifications of Quixote’s delusions. Aldonza, for instance, is placed in harm’s way by his virtue-signaling, having been lured into believing Quixote’s idealistic vision of the world. There’s a hardness to Gomez’s direction that amplifies the other characters’ distaste for Quixote’s ramblings. Yet, there are moments of grace hit even harder. such when Quixote gives an innkeeper with dignity and honour, when Aldonza begins to desire the noble woman Quixote sees in her, and in the profound way Quixote wants the best for himself.

Sarah Facuri as Housekeeper, Steven Hotchkiss as Padre, and Mikkie Bradshaw-Volante as Quijano’s niece Antonia share their worry for the old gentleman’s mental state in “I’m Only Thinking of Him.” | Photo credit: Krizhal Daryl Ordas of Indio Creative

That is the delicate tightrope Gomez walks in this staging. Rather than shying away from the age of the material, he highlights how our perspective is different now. He speeds up the tempo of certain songs – such as “I’m Only Thinking of Him,” which is traditionally one of my least favourite songs in the musical, but here in the new arrangement, the song is vibrant and funny, especially with Mikkie Bradshaw-Volante and Sarah Facuri eating up that song – keeping the show from ever feeling too rigid or slow. His vision for the stage, realized alongside set designer Julio Garcia, initially presents an ICE detention center, a huge chained fence trapping the actors within and partly obscured to the audience. But as Cervantes begins his defense and tells the story of Don Quixote, the fence lifts, the walls break open and suspend into the air and the stage opens up for the play. Even the backdrop opens up to reveal the live band. It is such a strong use of stage imagery that visualizes how art opens up the world and allows us a new way of looking at things.

A favorite among REP audiences, Man of La Mancha in its third restaging dares audiences to believe in hope.
Photo credit: Krizhal Daryl Ordas of Indio Creatives

In today’s world, there is a bit of misplaced idealism to Man of La Mancha that can make it feel like a time capsule from a more innocent and pure era. Yet, Gomez, his amazing cast, and his artistic team manage to critique the elements that have aged poorly while still allowing the spirit and profound hope of the play’s core message to shine through.

Though there were noticeable technical difficulties, particularly with sound and lighting cues on opening night, these are easily remedied. The cast is incredible, with Buencamino leading the ensemble into a delightful frenzy. Marvin Ong’s Sancho is a breath of fresh air, while Katrine Sunga is utterly breathtaking as Aldonza. She is all power and forceful, Sunga commands a strong stage presence that matches Buencamino line for line. Meanwhile, Farley Asuncion’s musical arrangement is incredible, and Julio Garcia’s stage design is a theatrical revelation. Ultimately, this is a thoroughly engaging night at the theater and an interesting approach to reviving classic musicals.

My Rating: 4 Stars

Don’t miss this striking revival! Repertory Philippines’ Man of La Mancha runs at the REP Eastwood Theater until June 28. Secure your tickets now via TicketWorld or Ticket2Me visit Repertory Philippines’ official social media pages for updates and show schedules.

June 11, 2026
REP taps Nelsito Gomez to Direct Nonie Buencamino’s Musical Theater Comeback in Man of La Mancha

Repertory Philippines (REP) enlivens the local theater scene as it brings the inspiring and beloved story of literary hero Don Quixote to the stage in the much-anticipated production of the seminal classic Man of La Mancha.

With a limited four-weekend run from June 5 to 28 at the REP Eastwood Theater, the 2026 staging of Man of La Mancha not only harks back to REP’s legacy but also offers a revitalized take for today’s theatergoers. The musical will be brought to life by young director Nelsito Gomez, known for his fresh, creative, and relevant (and mostly lauded) takes on the masterworks of literary pantheons, from Shakespeare to Goethe. With him at the helm, one can expect this Cervantine musical about one man’s refusal to give up his impossible dream to be even more impactful and meaningful to the new generation.

Fittingly, this REP staging stars 2025 Gawad Buhay Best Actor in a Play awardee Nonie Buencamino, who makes his grand comeback into musicals as Alonso Quijano / Don Quixote, a man on a dedicated mission to restore honor, justice, and beauty to a world tainted by cynicism and hatred. Buencamino is known for his versatility, having appeared in various films, television shows, and theater productions throughout his decades-long career.

“We are deeply honored to bring Man of La Mancha back to the REP stage—a production that remains very close to my heart as one of my all-time favorite musicals. In a moment when it’s easy to grow weary or guarded, Don Quixote invites us, in his quirky ‘quixotic’ manner, to hold fast to courage, imagination, and the possibility of something better. Guided by an extraordinary team led by Nelsito Gomez and Nonie Buencamino, we’ve shaped a production that feels both intimate and urgent, and I’m truly excited to share it with our audiences,” says Mindy Perez-Rubio, REP President and CEO. “This is a theater experience you simply have to see.”

Considered as one of the world’s most popular musicals, Man of La Mancha is a soul-stirring and powerful musical experience featuring a fictionalized version of the famed writer Miguel de Cervantes, who is thrown into prison by the Spanish Inquisition and must defend himself against his fellow prisoners. As he takes the persona of Don Quixote through a play, the tale of imagination, chivalry, and heroism transforms and touches the people around him. It’s inspired by the Cervantes’ novel “The Ingenious Gentleman Don Quixote of La Mancha,” often hailed as the “best novel of all time” and the “best and most central work in world literature.”

The musical premiered on Broadway in 1965 and won five Tony Awards including Best Musical, with book by Dale Wasserman, music by Mitch Leigh, and lyrics by Joe Darion. Man of La Mancha is known for introducing the standard, “The Impossible Dream,” the principal song of the show that has become an anthem of hope. With a Spanish-infused score, the musical also features the timeless classics, “Dulcinea”, “I, Don Quixote,” and “I’m Only Thinking of Him”. Man of La Mancha is a favorite among REP audiences, having been previously staged in 1987 at the Insular Life Theater and in 2005 at Onstage Greenbelt.

Acclaimed classical singer and actress Katrine Sunga plays Don Quixote’s muse Aldonza, while Marvin Ong, known for his lauded lead performance in I Love You, You’re Perfect, Now Change, plays the iconic Sancho Panza. Rounding out the stellar cast are Tarek El Tayech as Governor/Innkeeper, Alfredo Reyes as Duke/Carrasco, Mikkie Bradshaw-Volante as Antonia, Sarah Facurias Housekeeper, Steven Hotchkiss as Padre, Julio Laforteza as Pedro/Male Dancer, Dippy Arceo as Jose, Jasper Jimenez as Juan/Barber, Ralph Oliva as Paco, Khalil Tambio as Anselmo, Liway Perez as Maria/Female Dancer, and Rafa Sumilong as Captain. JV Fulgencio joins the cast as the Male Swing and Aly Wijangco as the Female Swing.

The artistic team of REP’s Man of La Mancha includes Musical Director Farley Asuncion, Vocal Coach Arman Ferrer, Choreographer Jim Ferrer, Set and Props Designer Julio Garcia, Costume Designer Hershee Tantiado, Sound Designer Kabaitan Bautista, and Lighting Designer and Technical Director D Cortezano.

REP’s Man of La Mancha is running only for four weeks from June 5 to 28 at the REP Eastwood Theater in Eastwood City Walk 2, Quezon City.

Tickets are available now for ₱3,000 for Orchestra Center and ₱2,500 for Orchestra Side. Book your seats now, check out Ticketworld via tinyurl.com/REPMLM2026-TW or Ticket2Me via tinyurl.com/REPMLM2026. Special rates are also available to Megaworld Titanium VIPs through tinyurl.com/REPLAMANCHAVIP, while Eastwood residents, tenants, and employees can claim their special discount at the REP Box Office, 4F Eastwood Mall near SuperPark and Red Mango

For updates and show schedules, visit www.repertoryphilippines.ph, or like and follow @repertoryphilippines on Facebook and Instagram.

May 11, 2026
Fall into Fantasy: REP’s Alice in Wonderland Brings Whimsy to Life for Young Audiences

Get ready for a fantastical adventure as Repertory Philippines (REP) presents its latest mind-bending spectacle for all theater enthusiasts: a brand new musical version of Lewis Carroll’s timeless classic, Alice in Wonderland. This imaginative Repertory Theater for Young Audiences (RTYA) production promises a tuneful, over-the-top entertaining experience for the entire family, which is running from August 23 to December 14 at the REP Eastwood Theater.

Adapted for the stage with music and lyrics by Janet Yates Vogt and Mark Friedman and directed by RTYA Creative Director Joy Virata and Cara Barredo, this new take on the beloved story is going to whisk audiences down the rabbit hole into a land filled with zany characters, a mad tea party, flamingo croquet, and tap-dancing playing cards. This spectacular showcase brings together all the colorful characters from Carroll’s cherished books, Alice’s Adventures in Wonderland and Through the Looking Glass: the ever-curious Alice, the eccentric Mad Hatter, the frantic White Rabbit, the bumbling Tweedle Dee and Tweedle Dum, the clever Caterpillar, the melancholic Mock Turtle, the mysterious Cheshire Cat, and of course the domineering Queen of Hearts.

A stellar ensemble of actors has been cast to bring these iconic characters to life. The role of Alice will be shared by Reese De La Vega Iso, Justine Narciso, and Cheska Quimno. The Queen will be played by Cara Barredo, Pinky Marquez, and Mayen Bustamante-Cadd. The musical’s Mad Hatter are Hans Eckstein and Gerhard Krysstopher, while The White Rabbit will be portrayed by Steven Hotchkiss and Gabo Tiongson.

Joining them are Vino Mabalot and Jay Pangilinan as the Mock Turtle; Stephen Viñas and Sebastian Katigbak as the Cheshire Cat (a role Krysstopher will also perform); Yhuan Gatbunton and Lance Soliman as the Caterpillar; Drew Bustamante and Paul Atienza as the Tweedle Dum; Katie Bradshaw and Ornella Brianna as the Tweedle Dee; Ayam Eckstein and Jay Barrameda as the Doormouse, Kenny Isidoro and Johann Parungao as the March Hare; Karl Navato as the Dodo Bird (alternating with Pangilinan); and Vinz Castillo and Sean Nolasco as the Knave of Hearts.

Also filling the stage with fun and laughter are the ensemble composed of Coleen Paz, Jacqui Jacinto, Jiliana Tavares, Julia Panlilio, Lucylle Tan, Monica Tulio, Tanja Santos, Astro, DJ Buban, Deo Dela Cruz, Jae Valencia, VJ Cortel, and Keith Campus.

The creative and production team is rounded out by a team of Filipino theater professionals: Musical Director Phoebe Bitoon, Choreographer Stephen Viñas, Asst. Choreographer and Dance Captain Deo Dela Cruz, Set Designer Lawyn Cruz, Assistant Set Designers Lou Cagalingan and Kath Fernando, Costume Designers Hershee Tantiado and Phillip Domingo, Lighting Designer John Batalla, Projection Designer GA Fallarme, and Hair and Makeup Designer Johann Dela Fuente. Ayam Eckstein joins the team as the Company Manager and Patricia Gregorio as Production Manager.

Prepare to be enchanted as REP’s Alice in Wonderland brings the maddest tea party for the whole family from August 23 to December 14 at the REP Eastwood Theater. How do you get to Wonderland? Get your tickets now through TicketWorld at http://bit.ly/RTYAAlice2025TW and Ticket2Me at https://bit.ly/45tNMHU for Orchestra Center or https://www.ticket2me.net/event/22466 for Orchestra Side.

For direct ticket inquiries and showbuying opportunities, message REP’s social media pages @repertoryphilippines, call 0962-6918540 or 0966-9054013, or email info@repphil.org or sales@repphil.org.

August 8, 2025
Repertory Philippines opens limited run of Yasmina Reza’s Tony & Olivier award-winning comedy ‘ART’

Repertory Philippines (REP) has raised the curtain on Yasmina Reza’s Olivier & Tony award-winning comedy, ART, with a translation by Christopher Hampton and directed by Victor Lirio. The 88th season’s play will have a limited run only until June 29, with performances scheduled on Friday and Saturday at 8PM, and matinee performances on Sunday at 3:30PM at REP Eastwood Theater in Quezon City.

REP’s production of ART is comprised of New York, London, and Manila-based creatives. The international cast features London-based Filipino-British actor Martin Sarreal, who appeared in Season 3 of the hit Netflix series, Bridgerton; award-winning Manila-based actor Brian Sy, who was recently seen in The Sandbox Collective’s Tiny Beautiful Things and in Company of Actors in Streamlined Theatre (CAST) PH’s Othello as Cassio; and British stage, film, and television actor Freddy Sawyer, a Bristol Old Vic alum and who appeared in Apple TV’s hit series, Trying.

Directed by Victor Lirio, ART’s creative and production teams include Miguel Urbino (scenic and costume design), Miriam Crowe(lighting design), Fabian Obispo (original music and sound design), Maisie Carter (fight director), Zoe Littleton (voice coach), Uriel Villar (assistant director), Julia Pacificador (associate scenic designer), Hazel Gutierrez Marges (production manager), and Jayvee Carreon (production stage manager).

Written by French playwright Yasmina Reza and translated by British playwright Christopher Hampton, this witty and sharp one-act play features three long-time friends Serge (Sarreal), Marc (Sawyer), and Yvan (Sy).  While it explores the subjective nature of art with an  Antrios painting —an all-white piece  tinged with the faintest off-white stripes worth 200,000 francs—becoming a source of tension, the play also cleverly and hilariously dives deep into the complexity of friendships and how easy it is for personal beliefs to strain relationships.

Also sharing the stage are artworks by members of the HOPE Project, an initiative made up of Persons Deprived of Liberty (PDL) from the Bureau of Jail Management and Penology (BJMP) in Lipa City, Batangas. Founded by jail warden Aris Villaester, HOPE Project (or Help One Person Deprived of Liberty Every Day) supports the release of qualified and deserving PDLs who are ill, in their senior years, and have no financial means to pay for legal fees.

Apart from supporting the creations of PDLs, REP’s ART is also part of the Bridge Project 2025 Season, made possible with a partnership with the Bristol Old Vic Theatre School and MINT College.  The skills exchange program focuses on classical work with week-long workshops on Shakespeare Rhetoric, Voice & Alexander Technique, Movement and Stage Combat led by visiting tutors from New York and the United Kingdom. With a generous funding from the Community Investment arm of JTI Philippines andthe Mercedes Zobel Foundation, the Bridge Project also offers production arts workshops on scenic design and lighting for theaterperformance.

Don’t miss the limited run of REP’s take on the internationally acclaimed comedy ART only until June 29 at REP Eastwood Theater.

Tickets to ART are available through Ticketworld at tinyurl.com/REPArtTW and Ticketmelon at tinyurl.com/REPArtTM. For direct ticket inquiries and showbuying opportunities,  message REP  social media pages @repertoryphilippines, call 09626918540 or 09669054013, or email info@repphil.org or sales@repphil.org.

For more information on the Bridge Project 2025 Season and how to register for the workshops, visit www.repertoryphilippines.ph.

For updates and show schedules, visit www.repertoryphilippines.ph, or like and follow @repertoryphilippines on Facebook and Instagram.

June 23, 2025
Theater Review: Dissecting Friendship A Review of Repertory Philippines’ ‘Art’

The multi-awarded French play ‘Art’ by Yasmina Reza, translated into English by Christopher Hampton, has opened in Manila through Repertory Philippines under the direction of Victor Lirio. A comedy that unfolds in one act with no intermission and runs for nearly 90 minutes, the play centers on three friends whose friendship goes under intense scrutiny when one buys an odd, very expensive piece of artwork.

Serge (played by Martin Sarreal), Marc (Freddy Sawyer), and Yvan (Brian Sy) have been friends for 15 years. Trouble begins when Serge buys an “Antrios painting” for 200,000 francs, a white painting with some shades of off-white, which Marc considers a complete waste of money. Marc and Serge argue about the purchase, buttons are pushed, and sharp words are exchanged. Both friends turn to Yvan, hoping he will mediate, but Yvan prefers to take a softer approach, telling each one what they want to hear. After all, Yvan is about to get married and he’s got troubles of his own that’s brewing.

Yvan (played by Brian Sy) and Serge (played by Martin Sarreal) | Photo by: Joel H. Garcia

Without an intermission, the play runs through several scenes: duets, monologues, and a final extended gathering of the three characters, where they finally confront each other head-on. At first, the conflict seems to be about the painting, a debate over classicism versus post-modernism but beneath the surface, it’s way more than that. In order to truly address the issue, their relationship is placed under a microscope. What we witness is a friendship being renegotiated. Fifteen years is a long time. They’ve changed. Dynamics have shifted, but they haven’t been honest with themselves about it.

Written by French playwright Yasmina Reza and translated by British playwright Christopher Hampton, this witty and sharp one-act play features three long-time friends Marc (Sawyer), Yvan (Sy), and Serge (Sarreal)
| Photo by: Joel H. Garcia

The play in itself is funny. There’s a lot of use of repetition – characters repeating what the other is saying as a means to heighten tension and humour – and the three friends can be very catty, using their personal history to make barbed remarks at the other’s expense. I don’t know why I want to say it’s very French, even though I’ve only seen three French plays (translated into English) but it has that appeal and charm.

Yvan (played by Brian Sy) and Marc (played by Freddy Sawyer) | Photo by: Joel H. Garcia

But watching the opening night of the show, I was having a hard time connecting with the piece. Martin Sarreal, a Filipino British actor who is living in Britain, and the Brit actor Freddy Sawyer have a very English attack on the characters. Their accents are on full display while Brian Sy speaks naturally without an English inflection. The delivery of Sarreal and Sawyer are razor-sharp but dry. It’s cold while Sy has the Filipino warmth to his Yvan. Because of these tonal differences, I had such a hard-time seeing the three as friends for 15-years.

Yvan (played by Brian Sy) and Serge (played by Martin Sarreal) | Photo by: Joel H. Garcia

Because of the brutality of each one’s verbal attack, and the coldness to which the two more active characters take their offensive, it felt like they hadn’t been friends for a long while now and this approach feels like it loses some of the play’s charm. It’s so vicious that I wonder how they even made it to this point. When I imagine it as French – I’ve never been to France and have only spoken to very few French people, but I am basing it on a lot of French cinema I’ve seen and the caricatures that are presented on comedy shows – and I imagine that the snobbish and aloof stereotype of the French could get away with such stinging remarks of a friend. But Sy has so much warmth that it amplifies the cold British dry humour of Sarrel and Sawyer that I felt the play’s exploration of friendship wasn’t hitting the right cues.

Freddy Sawyer plays Marc | Photo by: Joel H. Garcia

There are other aspects of the show that confused me, like how the play begins with a movement piece between the three friends that interpret as an imagery of their friendship over time. It’s such a strange place to start when the play in itself is so verbose and articulate. Most of the time, the characters stay on set, and listen to each other’s monologues, which removes the privacy and intimacy of some of what is being said.

I really love Sarreal’s laser-sharp focus and Sawyer’s ability to portray Marc’s posturing. I’ve also always been a fan of everything Sy has done, both on stage and in film. However, I didn’t really see the connection on the opening night. The play in itself is funny and surprising, and I’m hoping that later shows will flesh out their relationship more.

My Rating:

See this acclaimed production brought to life by a powerhouse cast and a globally seasoned creative team. Art runs exclusively at REP’s Eastwood Theater until June 29. Catch it before the final curtain call. Buy tickets at Ticketworld or Ticketmelon.

June 23, 2025
Eastwood City Becomes New Home Of Repertory Philippines

Megaworld Lifestyle Malls and Repertory Philippines have entered into a strategic partnership that will set the stage for the emergence of a dynamic new home for the country’s foremost theater company in Eastwood City, the entertainment capital of the Philippines.

This groundbreaking partnership, solidified through an official contract signing conducted yesterday, March 12, at the Eastwood Richmonde Hotel in Eastwood City, signifies a monumental stride forward for both entities. Led by Graham Coates, the First Vice President and Head of Megaworld Lifestyle Malls, and Mindy Perez-Rubio, the President of Repertory Philippines, this collaboration heralds a new era of cultural and entertainment enrichment in the heart of Metro Manila.

The brand-new theater will rise at the fourth floor of Eastwood Citywalk and has a total space spanning 1,400 square meters. It features a contemporary classic design and an expansive mezzanine and common area.

The main theater boasts a seating capacity of 500, providing an intimate yet spacious setting for patrons to enjoy the spectacular performances and theater productions that Repertory Philippines is renowned for.

The new performing space is set to open its doors in October 2024 with the inaugural show, “Jepoy and the Magic Circle”, a Repertory Philippines and Repertory Theater for Young Audiences original production that is sure to captivate audiences and set the stage for an exciting new chapter of the famed theater company.

“We are very honored to give Repertory Philippines its new home in Eastwood City through this landmark partnership. More than signifying our commitment to offering diverse cultural experiences to our valued patrons and communities, this new theater symbolizes our shared vision of creating a vibrant cultural hub that puts the spotlight on the world-class talents of Filipinos, fosters creativity and inspires the next generation of playwrights and theater performers,” shared Megaworld Lifestyle Malls head Graham Coates.

The arrival of Repertory Philippines is a big boost to Eastwood City as it further solidifies its status as a leading entertainment and lifestyle hub in the country, and a hotbed and thriving hub for up-and-coming Filipino artists and performers. The collaboration also aims to foster a thriving arts community, attracting artists and theater enthusiasts from across the metro.

The new location of Repertory Philippines, meanwhile, gives theater-goers access to Eastwood City’s diverse array of global brands, retail stores, chef-driven restaurants and new immersive experiences for all ages.

Ticket prices and show schedule will be announced soon through Repertory Philippines’ social media accounts and website.

Megaworld Lifestyle Malls is the retail and commercial development arm of Megaworld Corporation, one of the Philippines’ largest real estate companies. As the country’s premier developer of lifestyle destinations with exceptional designs, offerings and experiences, its mission is to make happiness and meaningful connections a lifestyle for its communities. There are currently 20 Megaworld Lifestyle Malls across the country including: Eastwood Mall, Eastwood Citywalk, Lucky Chinatown, Uptown Bonifacio, Forbes Town, Venice Grand Canal Newport Mall at Newport World Resorts, Southwoods Mall, Festive Walk Iloilo, Three Central Mall, Paseo Center, San Lorenzo Place Mall, Arcovia City, California Garden Square, The Clubhouse at Temple Drive, Greenhouse at Village Square Alabang, Alabang West Parade, Twin Lakes Shopping Village, Mactan Alfresco and Newcoast Beachwalk.

For the latest information, visit https://megaworld-lifestylemalls.com/ or follow Megaworld Lifestyle Malls on social media: Facebook (https://www.facebook.com/megaworldlifestylemalls), Twitter (@MegaworldMalls), Instagram (@MegaworldLifestyleMalls), and TikTok (@megaworldlifestylemalls).

March 14, 2024
REP Presents Harold Pinter’s Betrayal: A Dramatic Deception in March

Repertory Philippines (REP) raises the curtain for its 87th season with the Manila premiere of Betrayal, a renowned play by British theater icon and Nobel Prize-winning playwright Harold Pinter, running from March 1 to March 17 at the Carlos P. Romulo Theater in RCBC Plaza.

A recipient of The Olivier Award and New York Drama Critics’ Circle Award, Betrayal employs a reverse-chronological structure to tell the poignant tale of an extramarital affair involving Emma, Robert, and Jerry, who is Robert’s best friend. Inspired by Pinter’s own seven-year affair, the play is a three-hander and takes place in London and Venice over a nine-year period.

Directed by critically acclaimed actor and theater director Victor Lirio, Betrayal features a cast of London-based Filipino actors James Bradwell, James Cooney, and Vanessa White who all boast extensive experience on stage and on screen, and beyond.

New York and London-based Lirio has directed several productions in New York and London. He was most recently Resident Director on Dr Semmelweis in the West End starring Oscar winner Mark Rylance at Harold Pinter Theatre in London. He was the former artistic director of Diverse City Theater in New York.

Bradwell has performed at prestigious venues in London such as Shakespeare’s Globe and The Royal Court Theatre, and has played various TV roles including a part in Netflix’s Bridgerton. Cooney has played lead roles in several productions at The Royal Shakespeare Company, The Old Vic, and, most recently, The Almeida Theatre in London. Finally, White, also a former member of English-Irish girl group The Saturdays, returns to her theater roots having performed in the West End productions of The Lion King and The King and I.

They will be joined by Manila-based actors and Philstage Gawad Buhay awardees Regina De Vera and Jef Flores. Betrayal will feature set design by Miguel Urbino, lighting design by John Batalla, sound design by Fabian Obispo, and costume design by Becky Bodurtha.

“I am thrilled to be directing my first production in my home country and at Repertory Philippines,” Lirio says. “We will be exploring Betrayal from the second-generation Filipino immigrant experience in London and set it in the contemporary time. Though born in England, actors James Cooney’s and Vanessa White’s families are from Davao and James Bradwell’s from Naga City. My family is from Batangas. And we will mine our Filipino roots to re-tell this beautiful and complicated story.”

REP presents Betrayal as part of The Bridge Project, a collaboration among global professional theater practitioners of Filipino descent from New York, London, and Manila. Launched by Lirio in June 2020 in London and currently in partnership with REP in Manila, this global undertaking serves as a skills exchange platform. The Bridge Project will offer free Knowledge Sharing Sessions that will touch on theater topics like Shakespeare text rhetoric, text & scene study, script analysis for visual designers, voice and theater experience, as well as a speaker series forum and some staged readings. The classes will be held at MINT College, Mckinley Hill and Ortigas Campus. Registration begins the first week of February. Interested parties may download application forms at repertoryphilippines.ph and their social media channels.

“I sense a real commitment and passion from REP for a global collaboration among Filipino artists,” adds Lirio. “I’m grateful to REP President and CEO Mindy Perez-Rubio for supporting The Bridge Project’s ethos and for having the London-based Filipino actors and me. We’re all very excited to collaborate with fellow theater artists in Manila in presenting one of Pinter’s most extraordinary plays.”

For show-buying and ticket inquiries, contact REP at 0966-905-4013 or send us an email at marketing@repphil.org, sales@repphil.org or through this link: https://linktr.ee/repertoryphilippines Tickets are now available via Ticketworld.

For updates and show schedules, visitwww.repertoryphilippines.ph, or like and follow @repertoryphilippines on Facebook and Instagram.

March 8, 2024
REVIEW: Repertory Philippines’ ‘Betrayal’ puts you in a vise of repressed emotions

I have heard a lot about the playwright Harold Pinter but never actually got to read or see any of his plays produced until now. Repertory Philippines through New York and London-based director Victor Lirio has brought Pinter’s classic 1978 play ‘Betrayal’ to the Carlos P Romulo Theater at the RCBC. A three-hander, the roughly 90-minute production is a story of an affair unraveling backwards through time. It has all the qualities that have come to define what a Pinter play is: characters in enclosed spaces, the barest minimum of plot, and dialogue that is meant to highlight the changing power dynamics between the characters as they struggle to pick each other apart as they try to derive a semblance of truth.

What makes this production more appealing is that Lirio has decided to bring in three British Filipino actors – Vanessa White, James Bradwell, and James Cooney (with Jeff Flores and Regina De Vera as understudies) – and to approach the production through a British-Filipino lens. During the talkback after the opening night, Lirio says that not a single line of dialogue was touched or changed. The essence of the play that Pinter originally wrote in 1978 is intact, the only difference is that it centers now on the character of Emma and that the emotional core of the performances are tied to the actor’s understanding of the British-Filipino experience.

‘Betrayal’ is the story of an affair that happens between Emma (White) and Jerry (Cooney), the best friend of Emma’s husband Robert (Bradwell). The affair lasted seven years and as the play opens, Emma reveals to Jerry that her marriage to Robert is ending, despite the fact that affair had ended two years prior. She tells him Robert has just discovered “last night” about Emma and Jerry’s affair while revealing his own infidelity and this leads Jerry to meet with Robert. In their scene together, Jerry discovers that Robert has known for four years now and that Emma had told him back then, and now Jerry is left to wonder why Emma would “betray him” like that.

REP Philippines’ Betrayal features a cast of London-based Filipino actors

The play that moves backwards in time, to key moments that reveal the many lies that were told to maintain such a long-standing affair and the layers of deception that were at work as who knew what at what point in time starts to show the utter complexities of human relationships and dynamics.

There is a straightforwardness to Pinter’s dialogue. Surprisingly, Lirio makes a decision to remove all displays of histrionics and fiery tempers from this production. At its highest emotional points, Jerry (James Cooney) raises his voice twice while Bradwell’s Robert has a drunken moment where he almost reveals his inner thoughts and feelings. These were the most gregarious displays of emotions that the show is able to muster for the audience. It keeps things restrained, all emotions held back and kept in, and fills the show with an aura and atmosphere of repression and imprisonment.

REP Philippines’ Betrayal leads with critically acclaimed actor and theater director Victor Lirio

Lirio and the cast discussed that the British-Filipino perspective that came into the approach of this play and its characters meant that they had to draw from the attitudes of dignity and pride. Being of Asian descent meant the pressures to fit in so strongly and since the threat of racism hangs over these characters’ heads, it was important for them to be better, to be dignified at all times. It’s why there is much in the direction that everything is measured out in such small doses. And nothing is ever revealed.

It is an interesting perspective that has a double-edged effect for the audience. On one hand, there were many that enjoyed the more dignified presentation of people who are coming to terms with an affair. It is so far removed from the Filipino experience of loud, passionate displays of hurt pride and grief and loss. On the other hand, it can also keep the play from reaching any real point of catharsis. It’s a mental game rather than an emotional one, and one can leave the theater feeling very cold.

Bradwell and Cooney manage to thrive in this environment. Both actors manage to humanize their characters underneath Pinter’s measured dialogue and Lirio’s restrained direction. As they try to keep all the rage and anger and confusion inside, what they are able to telegraph from their posture, the shift of pitch and tone of their voice as they deliver the lines, betray the thoughts that are simmering inside them (pun intended). The weight of the lies play out so evidently in Bradwell’s gait and posture. Cooney, on the other hand, gains and loses his character’s sense of confidence and self-depending on the scene. Unfortunately, White seems unable to push Emma’s interiority out for us to chew on. She is so restrained, so repressed that nothing escapes. Her delivery and movements are so mannered, so precise that it looks rehearsed, bordering on the inauthentic.

I am so glad to have finally seen a Pinter play. ‘Betrayal’ is such a cerebral endeavor. It’s hard-hitting and doesn’t pull back any punches. Its non-linear narrative structure demands your full attention. The structure points to an inevitability that can be read as cynical and it can make you question the ways by which we interact with the people around us and, most importantly, the way we see ourselves. Rep’s production is different, maybe refreshing, definitely daring but not without its disadvantages. There’s no catharsis here. No release from the pent-up emotions. It’s a study on repression and it entraps its audience in its vise.

My Rating:

BETRAYAL is currently running at the Carlos P. Romulo Theater in RCBC Plaza until March 17. For tickets, please contact REP Philippines at 0966-905-4013.

March 8, 2024
REP Returns in Full Force with A New Season of Dynamic Productions for 2024

Repertory Philippines returns to form for its 87th season with a full lineup, a first since 2019, marking a celebration of the enduring legacy of one of the country’s foremost theater companies and a resurgence of live stage performances all around the world.

REP launches into 2024 with exciting new productions that explore a kaleidoscope of narratives and characters that tackle the profound universality of love and yearning. This new season takes audiences to the familiar highs and lows of all kinds of relationships and inspires them to deepen their appreciation for Filipino culture. As one of the longest-running English-speaking theater companies in Southeast Asia, REP opens its 2024 season by bringing two exciting global productions to Philippine theater.

The first is the Manila premiere of Betrayal, one of the best-known plays of British theater icon and Nobel Prize winner in Literature Harold Pinter. It will feature London-based Filipino actors James Bradwell, James Cooney, and Vanessa White with Jef Flores and Regina De Vera as covers.  Running from March 1 to 17, this production employs a reverse-chronological structure to tell the story and examine the consequences of an extramarital affair on three complex individuals and how clandestine meetings turn to dramatic confrontations. A recipient of the Laurence Olivier Award and New York Drama Critics’ Circle Award, the drama has featured prominent British actors like Michael Gambon, Daniel Craig, Rachel Weisz, and Tom Hiddleston.

This Manila staging of Betrayal holds many other firsts for REP. It is going to be the first Pinter play of the theater company. It marks the Philippine directorial debut of Victor Lirio, a Manila-born, New York and London based actor and theatre director, who trained at London Academy of Music and Dramatic Art and earned his Master of Arts in Drama Directing from the Bristol Old Vic Theatre School.  He was most recently Resident Director on Dr Semmelweis at the Harold Pinter Theatre in London’s West End starring Oscar winner Mark Rylance. REP will also collaborate with Lirio on The Bridge Project, a “skills exchange” program for professional practitioners trained in different theater cultures to create a congress for collaborative learning. The three Filipino-British actors, along with two New York-based Filipino-American designers and Lirio, are being flown in to Manila by REP in February not only to perform in Betrayal, but also to hold free masterclasses, lectures and readings, for Filipino theater practitioners and audiences.

From June 7 to 30, REP then goes off-Broadway with the lighthearted Joe Di Pietro (book and lyrics) and Jimmy Roberts (music) musical I Love You, You’re Perfect, Now Change taking audiences through a whirlwind series of vignettes on love and relationships. Perfect for fans of modern musicals and sitcoms, the revue is rife with a whirlwind cast of characters ranging from big-city singles and awkward wallflowers to suburban settlers and sassy seniors – all played by a cast of four!  The longest-running off-Broadway musical revue with tours to 250 cities worldwide, this musical also tackles everything people thought about dating and marriage, lovers, and in-laws—but were just too afraid to confront and admit.

Directed by the ‘first lady’ of Philippine musical theater Menchu Lauchengco-Yulo, REP’s I Love You, You’re Perfect, Now Changeensures a seamless blend of hearty humor and music. Other renowned creatives joining the production are Ejay Yatco for musical direction and Joey Mendoza for set design.

For its last two 2024 offerings, REP celebrates its roots by underlining its love for Filipino storytelling. Repertory Theater for Young Audiences (RTYA) showcases Filipino folklore in the all-new children’s musical Jepoy and the Magic Circle an adaption of The Magic Circle, a children’s short story by Philippine cultural icon and literature legend Gilda Cordero Fernando. The light-hearted musical centers on Jepoy and his dog, Galis, as they enter the whimsical balete world and befriend kapres, aswangs and tiyanaksand everything in between, to attend a tikbalang wedding.

Premiering in the last quarter of the year, Jepoy and the Magic Circle is bound to resonate with young audiences, leaving them with a meaningful and enduring message about the power of empathy and caring for the planet. This musical adventure is brought to life by RTYA Creative Director Joy Virata as its director, award-winning playwright Rody Vera, and Ejay Yatco as its musical director.

REP caps off 2024 in November till December its first-ever original jukebox musical: Going Home to Christmas featuring the music of Mr. Christmas himself, Jose Mari Chan!

For the season’s closing show, REP taps distinguished director, actor, and set designer Leo Rialp as director and esteemed theater actor Jeremy Domingo as assistant director. The musical is written by REP stalwarts Robbie Guevara, Luna Griño-Inocian, and Joel Trinidad, with additional scenes by Cathy Azanza-Dy.

Chan’s music and lyrics lend themselves to the charming and heartwarming stories; provide the perfect soundtrack for this seasonal offering; and, make Going Home to Christmas a theater experience the whole family will surely enjoy.

What makes the 2024 season extra special for REP is it also marks its nostalgic return to the Carlos P. Romulo Theater in RCBC Plaza, when they inaugurated the theater in 2001 with Celebration III, A Musical Revue before running for two wonderful decades at the Onstage Theater in Greenbelt.

“This new REP season is going to be one for the books. We’re back and stronger than ever since the pandemic, having experimented with virtual theater and mounted Rodgers and Hammerstein’s musical Carousel as well as currently staging Snow White and the Prince for RTYA,” says REP President and CEO Mindy Perez-Rubio. “Despite dealing with close to four years of darkness, the show must go on. REP is ready for a new chapter with a fresh lineup of carefully curated productions, plus the initiation of The Bridge Project, that will enrich the cultural lives of Filipino theatergoers and artists.”

Catch the entire REP 2024 season by purchasing season passes now. Season subscribers can get access to REP productions at up to 30% off. The full season year pass includes 3 season shows + RTYA, with the Gold Year Pass at Php 6,650 (Orchestra Center), the Silver Year Pass at Php 5,250 (Orchestra Side) and a Balcony Year Pass at Php 3,710. Student and Corporate Season Passes are also available at discounted prices.

For show-buying and ticket inquiries, contact REP at 0966-905-4013 or send an email at marketing@repphil.org or sales@repphil.org.

For updates and show schedules, visit www.repertoryphilippines.ph, or like and follow @repertoryphilippines on Facebook and Instagram.

December 15, 2023