Tag: Theater Group Asia

Lea Salonga is Bernarda Alba in TGA’S ‘Ang Tahanan ni Bernarda Alba’

The Tony Award-winning actress and Hollywood Walk of Fame star makes a powerful dramatic transformation in TGA’s highly anticipated Philippine staging of Ang Tahanan ni Bernard Alba.

Last seen with TGA as The Witch in the sold-out run of Into the Woods, this season, Lea Salonga steps into one of theater’s most complex and commanding roles as she inhabits the play’s titular character.

Following an extraordinary career that has taken her from Manila to Broadway and beyond, the multiple award-winning actress, singer, and producer now turns her formidable dramatic talents toward this headstrong matriarch, a woman whose determination to protect her family ultimately becomes the very force that threatens to destroy it. This poetic drama by Federico García Lorca, one of the 20th century’s greatest dramatists, permeates this tragic masterpiece of matriarchal despotism and is adapted by celebrated director-playwright Chay Yew and translated into Filipino by Guelan Valera Luarca.

After the death of her second husband, Bernarda declares eight years of mourning and imposes absolute obedience upon her five daughters. Behind the closed doors of the Alba household, silence, discipline, tradition, and appearances reign supreme. But beneath the carefully maintained order, her daughters’ desires, jealousies, frustrations, and dreams refuse to remain contained. When the arrival of a potential suitor disturbs the household’s fragile equilibrium, tensions begin to mount, forcing each woman to confront what she wants and what she is willing to sacrifice to have it.

At the center of it all stands Bernarda: fiercely protective, uncompromising, and obsessed with respectability. She is both mother and ruler, protector and oppressor, determined to hold her family together even as her methods transform their home into a prison.

For Salonga, whose career has been defined by some of musical theater’s most demanding roles, Bernarda marks a striking new chapter. Best known internationally for her Tony Award-winning performance in Miss Saigon, Salonga has also received the Olivier, Drama Desk, Outer Critics Circle, and Theatre World Awards. She became the first Asian actress to play Eponine on Broadway in Les Misérables and later returned to the musical as Fantine in its 2006 revival. Her Broadway credits also include Once on This Island, Allegiance, Flower Drum Song, Here Lies Love, and Sondheim’s Old Friends. On TV, she was last seen in Pretty Little Liars and The Cleaning Lady. She is a bona fide Disney legend having lent her singing voice to Princess Jasmine in Aladdin and Fa Mulan in Mulan and Mulan II. Most recently, Salonga voiced the dreaded manananggal in the DreamWorks animation Forgotten Island.

Yet Ang Tahanan ni Bernarda Alba presents audiences with a Lea Salonga they have never seen before.

Salonga says, “To be perfectly honest, I hadn’t encountered this play before, which may work in my favor as I have no preconceived notions or strong opinions. After reading both Chay’s English translation and then Guelan’s translation into Pilipino, despite the literal terror I feel in my soul, this is an absolutely important work to tackle. It fits our culture and is timely given the state of current events in the world.”

The “terror” Salonga speaks of emanates from two fronts: First, the striking difference in her parenting style compared to that of Bernarda’s, and second, because the play will be entirely in Filipino.

The iconic performer shares, “Bernarda is a mother who rules the roost and raises her

children not with love but fear. This kind of parenting still exists, whether for cultural or familial reasons, and getting under the skin of such a mother may give me some empathy for her as well as plenty of sympathy for her children. Figuring out what her backstory is will be fascinating, and what her motivations are for ruling her home with an iron fist. Her rule is law for every person living under her roof, and that house is not a happy place. How does anyone reach that point? It’s definitely going to be, dare I say, fun playing detective and piecing all that out.”

She continues, “To borrow a line from Into the Woods, I’m ‘excited and scared’. My Tagalog, strangely enough, tends to lean towards the ‘matatas’ side. I once

wrote a post on Threads in Pilipino from start to finish, trying not to incorporate either English or Spanish. A few folks might’ve been surprised. As for preparations, I’ve enlisted Guelan’s help in navigating the script, and am ready to ask questions about why he chose certain words over others in his translation. His use of the language isn’t just beautiful but adds so many layers of subtext and meaning.

With Lea Salonga at its center, Ang Tahanan ni Bernarda Alba promises not merely a performance, but a confrontation and examination of our own Filipino family dynamics and values.

For more information, visit TGA’s website www.theatregroupasia.com, Instagram @theatregroupasia, or Facebook page https://www.facebook.com/theatregroupasia.

October 2, 2026
THEATER REVIEW: A Polished Production with Great Performances, ‘The Notebook’ Struggles to Hit Its Emotional Zenith

I have never read The Notebook by Nicholas Sparks, but I have seen Nick Cassavetes’ film adaptation starring Rachel McAdams and Ryan Gosling. Surprisingly, I have watched a lot of movie adaptations of books written by Sparks; while I cannot say I enjoy them all, there is a distinct formula to them that I find comforting and somehow appeals to my closet-romantic nature. So I was excited to catch Theater Group Asia’s production of The Notebook The Musical, even without knowing much about the stage version itself. The songs were written by Ingrid Michaelson, a singer-songwriter whose music career I have been a fan of during her early record.

The musical’s book, written by Bekah Brunstetter, follows a non-linear storyline depicting the main characters, Allie and Noah, across three distinct timelines. The story opens in a nursing home, where an elderly Allie lives with dementia while Noah refuses to leave her side.

Celeste Legaspi as Older Allie, Rody Vera as Older Noah | Photo: Jyllan Bitalac & Sherie Bolo | Courtesy of Theatre Group Asia’s The Notebook The Musical (Artistic Director: Clint Ramos; Executive Director: Christopher Mohnani)

As he reads to her from her handwritten notebook, a diary she kept, the and this thrusts us into the past, where two different versions of Noah and Allie act out their youth. Young Noah and Young Allie portray their first meeting and their falling in love. While middle Noah and Middle Allie, after years of not having seen each other; Noah has returned from the war to fulfill a promise, while Allie finds herself engaged to be married to another man just as their paths cross once again.

Photo: Jyllan Bitalac & Sherie Bolo | Courtesy of Theatre Group Asia’s The Notebook The Musical (Artistic Director: Clint Ramos; Executive Director: Christopher Mohnani)

At its core, The Notebook is a classic love story about two lovers who meet each other and fall in love but their circumstances try to keep them apart, who nevertheless defy all odds and refuse to let each other go.

Photo: Jyllan Bitalac & Sherie Bolo | Courtesy of Theatre Group Asia’s The Notebook The Musical (Artistic Director: Clint Ramos; Executive Director: Christopher Mohnani)

Directed by Nicholas Polonio, The Notebook The Musical emerges as a very polished staging that showcases some really good vocal performances from its cast, most notably from Morissette, who bring incredible depth and vocal power to Middle Allie and a set design that’s dynamic and inventive. There’s a massive dropdown screen frames that allows Older Noah and Older Allie to have their scenes upstage in the nursing home and as they journey into memory of the past, the screen lifts up to give us some gorgeous set designs by Miguel Urbino.

The stage transitions between a dock, complete with a rowboat, a frame representing the “haunted house” (that carries a promise with immense story implications), a bedroom with a huge bed, and a two-story house with stairs and a balcony. These sets are incredible to look at and Polonio’s use of the dropdown projection screen and some additional sliding screens at the side allows him total cinematic command over the show’s overall imagery of each scene. It’s almost cinematic.

Laurence Mossman as Middle Noah, Jillian Ita-as as Georgie | Photo: Jyllan Bitalac & Sherie Bolo | Courtesy of Theatre Group Asia’s The Notebook The Musical (Artistic Director: Clint Ramos; Executive Director: Christopher Mohnani)

Positioned behind the stage, the orchestra delivers a rich, lush soundscape that far surpasses the arrangements of earlier productions. Musical director Farley Asuncion brings out all the emotions from his arrangement. Later, the orchestra is revealed along with another set change at the height of one of the musical’s most emotional moments for full effect. It’s quite strong.

Morissette as Middle Allie, Laurence Mossman as Middle Noah | Photo: Jyllan Bitalac & Sherie Bolo | Courtesy of Theatre Group Asia’s The Notebook The Musical (Artistic Director: Clint Ramos; Executive Director: Christopher Mohnani)

Without highlighting the root cause of their break-up, overshadowed by all the montages of Noah and Allie falling in love, the musical renders its central conflict feels manufactured rather than rooted in a relatable, universal truth. Hidden by all the romantic parts, the conflict (or lack of it) doesn’t really give the musical the tension to reach its emotional zenith. Yes, Older Allie has dementia but that’s also a conflict that cannot be won over by choice.

Sheena Belarmino as Younger Allie, Benedix Ramos as Younger Noah | Photo: Jyllan Bitalac & Sherie Bolo | Courtesy of Theatre Group Asia’s The Notebook The Musical (Artistic Director: Clint Ramos; Executive Director: Christopher Mohnani)

Yet despite its technical flourishes and a powerhouse performance from Morissette, I found the play to lack a certain tension that would amplify the narrative’s conflict. I feel the problem is in the book. Benedix Ramos, Laurence Mossman, and Rody Vera, playing Young Noah, Middle Noah, and Older Noah, respectively, do a great job at portraying the charming romantic lead. Their collective Noah is a bundle of goodness and devoted to his love for Allie. Because of the way he’s written and then performed, there seems to be no real reason why Allie’s parents would be against him other than class discrimination. There are no rough edges in this Noah; no brusque temper, and no underlying danger. Noah is simply a good man. It doesn’t help that Ingrid Michaelson’s songs give him a lot of high notes (which each actor sings well) to sing and he’s always longing for her that there seems to be no real reason for them to be apart except for this discrimination that doesn’t get enough moments to be fully realised.

Morissette as Middle Allie, Sheena Belarmino as Younger Allie, Celeste Legaspi as Older Allie | Photo: Jyllan Bitalac & Sherie Bolo | Courtesy of Theatre Group Asia’s The Notebook The Musical (Artistic Director: Clint Ramos; Executive Director: Christopher Mohnani)

The cast members, led by Sheena Belarmino, Morissette, and Celeste Legazpi, who embody the three versions of Allie, young, middle, and old, respectively – are also giving it their all but it’s a show that doesn’t fully maximize the elements of its story, especially its conflict.

It still hit home for the ladies beside me when I watched; each one holding back tears and swooning at every romantic milestone. The Notebook The Musical is an impeccably polished production with a lot of great technical work involved and standout vocal performances. There is no question about that. Yet the material itself has its issues that hinder a good show from becoming a truly great one.

My Rating: 3 Stars

A story loved around the world, proudly built in the Philippines by Filipino artists, for Filipino audiences: Theatre Group Asia’s production of The Notebook The Musical must close on September 20 at the Samsung Performing Arts Theater. Experience the music and stellar performances for yourself before the run ends. Grab your tickets now via TicketWorld.

September 9, 2026
THEATER REVIEW: Emmy Winner Karla Puno Garcia Directs Theater Group Asia’s “A Chorus Line” into a Triumphant Love Letter to the Ensemble

A Chorus Line has won nine Tony Awards and a Pulitzer Prize for Drama, is set at a high-stakes audition for a Broadway show. It is intimate and personal, staged against a bare stage where seventeen actors are interviewed by a director searching for four men and four women to be a part of a powerhouse dancing chorus for his latest show. Conceived in 1975 by writer, director, and choreographer Michael Bennett with music by Marvin Hamlisch, lyrics by Edward Kleban, and book by James Kirkwood Jr. and Nicholas Dante, the musical was famously workshopped using the real-life stories of real members of the chorus to breathe life into the characters of “A Chorus Line.”

Many of them get the chance to do monologues or perform based on real stories and the overall effect is incredible. Almost stripped of the usual grandiose staging typical of many musicals, we are left with the bare bones of a play and somehow, when executed well, it resonates stronger than ever as we get to see the interiority of many of these performers.

Theater Group Asia’s staging of A Chorus Line is a magnificent production, fueled by a cast of extremely committed performers who lay themselves bare, for us to experience their strengths and weaknesses, both their guardedness and their vulnerabilities. During a recent press event, a cast member described the show’s appeal as universal, suggesting that one does not need to be a performer to relate to the narrative. Anyone who has ever desired to be a part of something can connect to these stories, in some shape or form.

Under the direction and choreography of Emmy award winner Karla Puno Garcia, she material is revitalized; she pays homage to the movements of the original production while injecting her own spin on things. By playing to her casts’ unique strength, Garcia creates a show that really gets down and dirty with all the hopes and fears of its performers. The opening number, “I Hope I Get It” is a huge dance number with the cast trying to learn the steps, each one adding their own personal flourishes based on their personality and skill. Some are better, some are lagging. We see the nerves; we see the determination. On stage, it’s absolute joy to watch these movements occupy the stage with the mirror right behind them creating a feeling of an even larger number of dancers than what is already on stage. The show, from its opening number, already sets you in the mood for things to come.

What is truly remarkable about this piece is that it’s an audition for a chorus – for members of an ensemble that have to blend in and work as a unit so as to not steal focus from the star of whatever show they are going to be on – but the play itself, the interview that the director holds for each one brings to light each person’s individuality. The director, Zach, is searching for a team player but he needs to know who they are, as a unique person, to see if they fit together as a whole. By the end of the show, we get to see one big number where, despite having witnessed each actor’s personal story, they all blend in together, with no one outshining anyone else. They sing one of the show’s popular songs, ‘One,’ and it becomes a showstopper like no other.

The cast is incredible. Conrad Ricamora plays Zach, the director. Despite not having a song of his own, he propels the narrative forward, asking questions and breaking down each actors’ walls to try and get to see who they are inside. Ricamora is rarely on stage, instead goes down to the audience, reaches even up to the balcony seats. He’s acting primarily through his voice and it’s a commanding one. A powerful one. We can hear his frustrations and his interest. We can feel it when he cares and when he is calling out BS. It’s an incredible performance even when he is out of sight, his presence is always felt.

There are so many great performances here but I’d like to call out the standouts. One song, “At the Ballet,” performed by Sheila (Mikaela Regis), Bebe (Michaela Marfori), and Maggie (Iya Villanueva), an early favourite. Marfori and Villanueva possess powerful, evocative voices, while Regis is acting through the piece and the way they harmonize together creates a strong imprint at the beginning. As Diana Morales, Christina Glur sings some of my favourite songs from the musical: “Nothing” and “What I Did For Love” and I’m so in love with the original Broadway cast recording but Glur makes these songs her own, finding ways to emphasize particular words in a song that adds layers and tension, which makes her Morales such a grounding force for the production. Universe Ramos, as Paul San Marco, delivers strong monologue that leaves him alone on stage, sharing a beautiful, intimate, and very personal story. All alone on that stage, he fills it up with his character’s story and it’s a high point of the show.

What would constitute a lead in this show is Cassie, played by Lissa De Guzman. De Guzman is a powerhouse. She sings “Music and the Mirror,” which allows her to showcase her singing, acting, and dancing skills. There are so much presence and confidence that we cannot stop looking at her. She’s in full control of her body and her instrument that you can fully connect with Cassie’s struggle. What a truly exceptional performance.

Theater Group Asia’s production of A Chorus Line is a fully realised show. The lighting design by Cha See is nothing short of exquisite, the use of mirrors is exciting – on some numbers, it moves around on stage as if it were dancing too and helps tell the story of that number – and a strong orchestra, led by musical director Farley Asuncion.

The play was written in 1976, so there are certain aspects of it which don’t land just as well. The first act concludes with “Hello Twelve, Hello Thirteen, Hello Love,” a number about their different experiences reaching puberty. It is a hilarious song (featuring a great vocal moment from Rapah Manalo), though it didn’t seem to hit the audience as it did me. But I knew the songs by heart, and I knew the things that they were talking about (having grown up just a decade after the musical’s release). Another song that isn’t as strong as it was back in the 80s is “Dance Ten, Looks Three,” a song about one actor’s need for cosmetic surgery to stay competitive. Performed with a lot of personality by Brie Chappell, the song isn’t as shocking or surprising in 2026 with everyone so accustomed to cosmetic surgery. That song used to raise eyebrows and elicit gasps but now all it manages is a couple of chuckles, considering how well Chappell performed it.

But despite the show’s dated language and colloquialisms, it still is a lovely letter to everyone who has a dream, who faces challenges day-in and day-out to make that dream come true. Karla Puno Garcia’s direction brings this to the forefront, and the cast takes it home.

I’m definitely watching this again.

My Rating: 4.5 Stars

Theater Group Asia’s A Chorus Line is a masterclass in ensemble storytelling that proves some dreams never go out of style. The production runs until March 29, 2026, at the Samsung Performing Arts Theater. Secure your seats at TicketWorld and see why this Pulitzer Prize winner remains a “singular sensation.”

March 23, 2026
Theatre Group Asia (TGA) Announces Powerful 2026-27 Line-up

Theatre Group Asia (TGA) proudly announces its 2026-27 season theatrical lineup featuring three globally celebrated works, all of which, is set to be staged in Philippines for the first time.

TGA Creative and Overall Artistic Director Clint Ramos shares, “TGA’s 2026-27 honors three unforgettable, powerful stories that stir, challenge, and transform. This season places the human capacity to influence through love, survival, and creation on center stage. While each production proudly spotlights artists and narratives, the season ultimately celebrates something even greater: the power every person holds to shape hearts, defy limits, and leave a lasting mark.”

Opening the season in September 2026 is The Notebook: The Musical, which makes its international premiere in Manila. Featuring music and lyrics by Ingrid Michaelson and a script by Bekah Brunstetter, the musical debuted in 2022 at Chicago Shakespeare Theater under the direction of Michael Greif and Schele Williams. The production is touted for its emotional restraint and lyrical storytelling, offering a more intimate and reflective take on Nicholas Sparks’ iconic novel. While the story is best known through the 2004 film adaptation starring Ryan Gosling and Rachel McAdams, the stage version expands the narrative by portraying Allie and Noah across multiple stages of their lives, allowing audiences to witness how love matures, fractures, and ultimately endures. As a contemporary romance written with modern musical sensibilities, The Notebook: The Musical holds cultural significance for its tender exploration of memory, aging, and devotion, redefining the epic love story for a new generation.

In February 2027, TGA presents the Philippine premiere of Ang Tahanan ni Bernarda Alba, a Filipino-language staging of Federico García Lorca’s final and most powerful play. Written shortly before Lorca’s death, the work premiered posthumously in Buenos Aires in 1945 under the direction of Margarita Xirgu and was immediately recognized as a cornerstone of modern drama. The play follows the tyrannical Bernarda Alba, who enforces an eight-year mourning period on her daughters after her husband’s death, ruling her household through fear, tradition, and repression. Beneath the suffocating silence, desire and rebellion grow until the family is driven toward tragedy. Widely regarded as one of the greatest Spanish-language plays of the twentieth century and adapted countless times for stage and film, Bernarda Alba remains a searing critique of authoritarian control, patriarchy, and social conformity. In its Filipino incarnation in Chay Yew’s adapted version and transposed by Guelan Varela-Luarca, the play resonates with renewed urgency, underscoring the universal human struggle for freedom, dignity, and life itself.

Concluding the season in June 2027 is Stephen Sondheim and James Lapine’s Sunday in the Park with George. The musical premiered on Broadway in 1984 under Lapine’s direction and was initially met with awe for its intellectual ambition and emotional depth, even as it challenged conventional musical theatre audiences. Inspired by Georges Seurat’s painting A Sunday Afternoon on the Island of La Grande Jatte, the work explores the obsessive drive of an artist consumed by creation and the personal costs that accompany artistic brilliance. A parallel narrative set a century later reflects on legacy, innovation, and the enduring question of what it means to make meaningful art. Awarded the Pulitzer Prize for Drama in 1985 and now widely regarded as one of the greatest musicals ever written, Sunday in the Park with George stands as a profound meditation on creativity, sacrifice, and the power of art to transcend time.

Together, these three productions form Theatre Group Asia’s boldest season yet. TGA’s Season 2026-27 is made possible with the support of Ayala Land, BPI, and Philippine Airlines. For more information, visit TGA’s website www.theatregroupasia.com, Instagram @theatregroupasia, or Facebook page https://www.facebook.com/theatregroupasia.

January 28, 2026
Don’t Miss the Beat: Theatre Group Asia Announces Ticket Sales for “A Chorus Line”

Fresh from the success of Into the Woods, Theatre Group Asia (TGA) brings another Broadway landmark to local audiences with A Chorus Line*, celebrating its 50th anniversary this year. Tickets sales roll out starting September 15-17 for BPI card holders, TGA early sign-ups on September 18, and to the general public September 19 via Ticket World.

A landmark in American musical theatre and celebrating its 50^th Anniversary this year, A Chorus Line revolutionized Broadway by spotlighting the lives of ensemble dancers—the unsung heroes of every musical. As it follows 17 hopefuls vying for eight spots, it becomes an ode to ambition, sacrifice, and individuality. TGA is bringing this story to life with an all-Filipino cast, celebrating the global talent and cultural depth of the Philippines.TGA’s Overall Artistic and Creative Director, Tony Award-winner Clint Ramos, shares, “This local production of A Chorus Line will honor the iconic legacy of its original 1975 premiere while breathing new life into its message for a new generation.” The musical is notable for its stripped-down set, iconic choreography, and intensely personal monologues that explore identity, perseverance, and the often invisible cost of chasing a dream. It remains one of the few musicals to ever win the 1976 Pulitzer Prize for Drama aside from winning the Tony Awards for Best Musical, Best Book of A Musical (James Kirkwood), Best Original Score (Marvin Hamlisch and Edward Kleban), Best Director (Michael Bennett), and Best Choreography (Michael Bennett and Bob Avian) that same year.

As it celebrates its golden year, this enduring production continues to inspire anyone who’s ever dared to chase a dream. Beloved songs include “One [Singular Sensation],” “What I Did For Love,” “I Can Do That,” “I Hope I Get It,” and “The Music and the Mirror.” A film adaptation was released in 1985, directed by Richard Attenborough and starring Michael Douglas.

New York-based Emmy Award-winning Karla Puno Garcia who is set to direct and choreograph the musical shares, “This production is as much about discovering raw, beautiful talent as it is about telling a story.” The celebrated respected Fil-Am artist and dance educator expounds, “I’ve lived this story. I’ve been the dancer hoping to be seen, fighting to be chosen, giving everything to the moment. Now, I get to turn that experience into an opportunity for others.”

Puno Garcia promises a production that remains faithful to the original material while making it resonate with a younger set of Filipino theatergoers, “I’ve been in conversation with Baayork Lee, who embodies the spirit of the original production. Once we complete the casting, we’ll breathe new life into the material while staying true to the original show’s hallmarks. I’m especially excited to explore the characters with the all-Filipino cast we’re forming. I want to hear their stories and how they connect with the roles they’re portraying. I can’t wait to be inspired by their perspectives and find a way to use our combined experiences to organically create something that translates into today.”

Puno Garcia collaborates with TGA Executive Director and former internationally acclaimed danseur Christopher Mohnani, Associate Choreographer JM Cabling, and a host of Filipino talents driven to make this staging in the words of the musical, “One singular sensation!”

Tickets are available through Ticket World premiere.ticketworld.com.ph. Ticket prices start from PHP900 to PHP5,500. A Chorus Line will run from March 12-29, 2026. Thursday and Friday shows are at 7:30 p.m. Two shows are staged on Saturdays and Sundays at 2 p.m. and 7:30 p.m.

For more information, visit TGA’s website www.theatregroupasia.com, Instagram @theatregroupasia, or Facebook page https://www.facebook.com/theatregroupasia.

September 15, 2025