Gabriela Silang’s story is coming to the stage in a whole new way.
Following the announcement of Gab Pangilinan as the titular heroine, Barefoot Theatre Collaborative has revealed the complete cast and artistic team behind GABRIELA: The Musical, an original production that reimagines the life of the Ilocano revolutionary with a story built around a compelling idea: revolution begins with love.
Photo courtesy of Barefoot Theatre Collaborative | Wika Nadera
Set to run this November and December at Hyundai Hall, Areté in Quezon City, the musical brings together a powerhouse lineup of theater performers and creatives, including the team behind Bar Boys: The Musical.
Meet the Cast of GABRIELA
Leading the production alongside Pangilinan are Myke Salomon as Diego Silang and CJ Navato as Miguel Vicos.
The story’s wider world comes to life through Kerr Allen as Sebastian, Mikaela Regis as Kunyap/Gimayad, Jasper Jimenez as Tagaben, and Delphine Buencamino as Dawak. Rounding out the principal cast are Carlon Matobato as Frayle, Jon Abella as Alcalde, and Jules Dela Paz as Principalia.
Photo courtesy of Barefoot Theatre Collaborative | Wika Nadera
The production also features a large ensemble portraying the dual worlds of Mga Kailian and Mga Itneg. Joining the cast are Curp Adriano, Joshua Rico Santos, Vincent Sumo, Andre Manguba, Ace Polias, Khalil Tambio, Evan Asuela, Chesko Rodriguez, Ada Tayao, Teetin Villanueva, Mijon Anne Cortez, Denize Castillo, Ronah de la Peña, Lance Reblando, Pappel, and Joie Eborde.
For a production with an ambitious story and a large cast, the understudies and swings are equally important. Several ensemble performers will also take on these roles throughout the run.
Photo courtesy of Barefoot Theatre Collaborative | Wika Nadera
Pappel serves as Gabriela’s understudy, while Khalil Tambio understudies Diego. Curp Adriano covers Sebastian, Ronah de la Peña covers Dawak, and Lance Reblando understudies Kunyap.
Meanwhile, Chesko Rodriguez serves as the male swing for Frayle, Alcalde, and Principalia. Janji Gamboa is the male ensemble swing, while Joie Eborde takes on duties as the female ensemble swing.
The Team Behind the Musical
There’s another reason theater fans should have this one on their radar: GABRIELA: The Musical reunites the creative trio behind Bar Boys: The Musical.
Pat Valera takes on book and lyrics duties, with Myke Salomon serving as composer and musical director and Mikko Angeles directing. Together, they’re joined by a wide-ranging artistic team tasked with building the show’s world, movement, sound, costumes, sets, lighting, and visual identity.
The team includes JM Cabling as movement director, Katte Sabate as dramaturg, Julio Garcia as set and property designer, and Bonsai Cielo as costume designer.
Photo courtesy of Barefoot Theatre Collaborative | Wika Nadera
Meliton Roxas and Gabo Tolentino serve as co-lighting designers, while Arvy Dimaculangan handles sound design and Aina Ramolete brings puppetry design to the production.
Behind the scenes, D Cortezano serves as technical director, with Wika Nadera as art director and photographer. Hershee Tantiado is associate costume designer, Patrick Jusay is associate set designer and FOH designer, and Carlo Gianan serves as assistant director.
A Fresh Take on Gabriela Silang
Gabriela Silang remains one of the most recognizable figures in Philippine history, but this production isn’t simply presenting a historical figure onstage.
Photo courtesy of Barefoot Theatre Collaborative | Wika Nadera
GABRIELA: The Musical offers a new theatrical interpretation of her story, placing love and revolution at the heart of the narrative. With an original score, a large ensemble, and a creative team with experience bringing contemporary Filipino stories to the stage, the production looks to give audiences another way to connect with Gabriela’s legacy.
For theatergoers who enjoy Filipino stories told through music, movement, and a little theatrical magic, this is one production worth keeping on the calendar.
Photo courtesy of Barefoot Theatre Collaborative | Wika Nadera
Catch the Show at Hyundai Hall
GABRIELA: The Musical runs from November 13 to December 6, 2026, at Hyundai Hall, Areté, Quezon City.
Tickets are available right now through Ticket2Me, bit.ly/gabrielatatickets, and authorized Barefoot Theatre Collaborative showbuyers. Keep up with ticket links, showbuyer directories, and behind-the-scenes content by following @barefootcollab on Facebook, Instagram, X, and TikTok.
Are you planning a theater date for this run, or heading out with your usual show-hopping crew?
I first caught the staged reading of Porvenir Collective’s adaptation of Tennessee Williams’ Summer and Smoke last May, which was already a provocative use of space and boasted an inventive directorial vision by Mark Mirando alongside a brilliant adaptation by Eljay Castro Deldoc. Without removing any of Williams’ pathos or intensity, Deldoc manages to take the American play and situate it right at the heart of a rural Filipino town. Mirando makes full use of the venue’s design at Sine Pop in Cubao, having the actors move in and out of the stage area and utilizing the venue’s glass windows and bamboo garden so we can see the characters play out the conflict from a distance. Even the stairs leading up to the second floor are used, and the stage area is so close to the audience that you could hear their longing in every inflection, even through their mics.
The staged reading was already fantastic, led by Sandino Martin and Nour Hooshmand, but the full production sans scripts and a bit more finesse brings the show into an even more impactful theatrical experience.
El Fuego del Alma | Photo by Trish Shishikura Courtesy of Porvenir Collective
El Fuego del Alma follows Alma (Nour Hooshmand, alternating with Opeline Santos and Hariette Mozelle), an unmarried, conservative woman struggling with a chaotic home life.
El Fuego del Alma | Photo by Trish Shishikura Courtesy of Porvenir Collective
Her childhood friend, Juanito (Sandino Martin, alternating with Vincent Pajara), is the son of the town doctor. Though close as children, a romance blossoms between them as they grow up. Yet Juanito’s hedonistic indulgences run directly counter to Alma’s own spiritual convictions. This divide drives them apart and what follows is a story of repressed desire and a dissection of the spiritual bond between them.
El Fuego del Alma | Photo by Trish Shishikura Courtesy of Porvenir Collective
The play moves with surprising speed, despite its setting during provincial hot summer days. The imagined atmospheric heat is symbolic of the growing fire that is burning inside Alma that doesn’t come out; the same fire that Juanito is constantly fanning, with gambling and drinking and women. The two characters, with their rich history, long for each other but their contrasting principles and approach to life (one deeply restrained, the other reckless and carefree) keep them from coming together.
El Fuego del Alma | Bottle of Medicine Prop Design by Ohm David | | Photo by Trish Shishikura Courtesy of Porvenir Collective
This is precisely why utilizing Sine Pop’s hall proves to be such an inventive directorial choice. Huge glass windows on all three sides of the space, allowing characters to exit the scene while still contributing to the movement of the narrative. Those left behind in the stage area can look out into the bamboo garden, watching as another character drifts into the trees or seeks a moment of freedom outside the claustrophobic constraints of their conservative nature of the quiet rural town.
El Fuego del Alma | Photo by Trish Shishikura Courtesy of Porvenir Collective
As an audience member, your senses are heightened, constantly catching movement in your periphery while knowing that lives are unfolding just outside as Alma ruminates on the choices that have left her alone.
When I got to see the full production, I saw Hooshman reprise her role as Alma, this time sharing the stage with Pajara as Juanito. No longer bound by a script like she did in the stage reading, Hooshmand uses her entire body to telegraph the fire that’s inside of her consuming her character. Every subtle gesture – a clenched fist, a sharp inhale, a stolen glance – all so visible in the proximity of the audience to the cast. It’s such delicate work. Pajara, on the other hand, leans heavily into bravado, fire, and brimstone. He frequently raises his voice, equating Juanito’s passion with volume. At a certain point, this intense approach becomes monotone, almost indistinguishable from his more somber moments. It becomes hard to see what Alma has fallen in love with in Juanito when he’s firing on all cylinders in almost every turn. By contrast, Martin’s interpretation at the reading was more tempered. Yes, he is fiery and passionate, but in doses. He calms down when he’s around Alma, emphasizing the connection the two have.
Porvenir Collective’s El Fuego del Alma | Source: Ticket2Me
What makes Mirando’s direction even more revolutionary is how the production transforms between evening performances and daytime matinees. Natural light streaming through the glass windows bring in the sunlight during the daytime and change the mood entirely. A performance is even prepared just in case it rains; and again, a new approach is taken. The location is central to the directorial vision, but the elements of the environment also dictate what is seen. What an exciting creative use of space, making El Fuego del Alma a remarkable breakthrough in the contemporary theater landscape.
My Rating: 4.5 Stars
An exciting, inventive breakthrough that demands to be seen in person. El Fuego del Alma has extended its run from September until October, stay tuned and watch for ticket sales to resume via Ticket2Me.
Featured Images: Photo by Trish Shishikura and Poster Courtesy of Porvenir Collective
I’m quite impressed by Eljay Castro Deldoc’s previous works, most recently his translation of Tennessee Williams’ ‘Summer and Smoke’ (El Fuego del Alma) and Tanghalan Pilipino’s Gregoria Lakambini. I came into YPC Stage’s production of ‘Mapanakit: Mga Dulaang Bittersweet’ with much excitement. Deldoc’s writing is vibrant, rich, and lyrical, so I was eager to watch his later production: a triptych of three one-act plays (Ang Liknayang ng Ating Mga Katawan, Ilihan at Kalingaw, and Ganito ang Pangarap Kong Kasal), all directed by BJ Borja.
Mapanakit | Image Source: YPC Stage FB Page
What excited me the most was seeing a collaboration between community theater in Biñan – YPC Stage being the Youth Performance Council based in Biñan, Laguna – and Manila-based actors and theater practitioners. It’s a rare opportunity for us to experience regional theater while giving local artist from the provinces and allows them to collaborate with some of Manila’s finest talent. This king of creative synergy can only help elevate both parties and plays a vital role in enriching national theater in the country.
Ang Liknayang ng Ating Mga Katawan
Mapanakit: Ang Liknayang ng Ating Mga Katawan
The first one-act centers on Mr. Banakon (Ross Pesigan) and his student Hershey (Jury Sanchez), who meet in a chemistry lab under the guise of discussing the whereabouts of Hershey’s classmate who goes missing. But in the process, the conversation quickly pivots when Hershey confronts Mr. Banakon over a research paper, which he did not accept. As their back-and-forth unfolds, the play shifts into the story of a teacher-student relationship that has crossed moral boundaries.
From the get-go, the play had a lot working against it. Jury Sanchez’s performance as Hershey was wildly animated, bordering on anime. She played the character like a villain, a young student who is confessing her love to her teacher, fighting tooth and nail to prove they belong together. When Hershey makes a point, she laughs maniacally; when she says the word “flirt,” her body in sinewy way. It felt very much like she’s indicating, acting out every word that was being said. It felt more directional than an actor’s choice because a lot of the blocking and the back-and-forth between the two characters was played for comedy. It’s a dark comedy for sure; using empirical science – specifically the laws of physics and thermodynamics – to contextualize two people’s feelings for each other.
The play is inherently funny as it is. There is a ridiculousness that counterpoints the deeply inappropriate conflict that is happening in front of us. However, by leaning so heavily into playing the comedy, the play ends up not being taken seriously, which it needs to be because both Hershey and Mr. Banakon are complicit in a very unlawful, boundary-crossing relationship. Had the comic portrayals been toned down, the humor would have emerged naturally on its own, allowing the true strength of the material would have risen more to the front.
While it remains a daring piece, with Pesigan and Sanchez fully committed to their characters but the production’s lighthearted tone ultimately undermines the dark, messy themes at its core.
Ilihan at Kalingaw
Starring Gab Pangilinan and Euden Moje as the title characters, this mythical story follows two members of the Buringkantada tribe whose forbidden love carries deep consequences. Ilihan, the tribe’s poet and historian tasked with recording the stories of people in the tribe whose deeds must be remembered, faces punishment when her private love poems for Kalingaw, a man who is betrothed to another, are revealed. The play centers entirely on the tense final confrontation between Ilihan and Kalingaw before the rest of the tribe arrives for her punishment.
The weakest of the three plays, ‘Ilihan and Kalingaw’ is overburdened by a rich world-building and history that are never fully realized in its 45-minute running time. Pangilinan and Moje do their best with the dense rhetoric of the piece, must deliver the narrative through conversation – a narrative that would have been far stronger had it been actively dramatized rather than discussed. As a result, the play is more like a didactic musing on love and freedom.
Production Designer Carlo Villafuerte Pagunaling does an amazing job transforming the stage into a mythical, pre-colonial Philippines, complete with lush costumes and a striking backdrop of large wooden poles suspended from the ceiling creating an image of a fence from the sky. However, these rich visual elements cannot not keep the play from never really reaching its climax because most of the story happens off-stage. Discoveries about their love and about each other are done prior to the play’s opening, and it’s just mentioned through dialogue rather than witnessed live. This is a love story – and an entire mythical world – that needed to be fully experienced on stage and as a one-act play, it doesn’t quite land as hard as it should.
Ganito ang Pangarap kong Kasal
The most successful of the three one-acts in terms of direction, ‘Ganito ang Pangarap kong Kasal’ follows two best friends, France (Phi Palmos) and Kris (Loudette Barjas), who are both pining for the same classmate, Noel (Kokoy De Santos). But Noel wants to be with France and as they find love – which they prefer to keep secret except Kris – we watch the three friends over the time and how the social pressures of fitting in can tear friendships and relationships apart.
The three actors are incredible here. Palmos, Barjas, and De Santos fire on all cylinders, nailing all of the play’s comedic punchlines to hilarious effect. The first half had the audience in stitches. As the realities of the world kicks in, the trio shifts gears seamlessly and mine the pathos of each character that creates a duality, fully forming their characters and really catching the audience.
My only gripe is the way the story approaches these friendships and how it navigates the play’s ending to once again play to the usual tropes of the gay romance storyline. It offers nothing new about gay love stories that we haven’t seen before and takes a conservative and melodramatic tone for its ending. The actors do an amazing job making it real, emphasizing the hurt and the loss of the choices that they make, but these characters deserve better. I can only hope that this is an older play written many years before, because as a friend stated after the show: “It’s 2026, we deserve better stories and better endings than this.” And I couldn’t agree more.
All the good that the first half of the play was able to dramatize on stage gets lost at the end as the narrative surrenders to cliche.
My Rating: 2.5 Stars
Youth Performance Council’s collaborative showcase, Mapanakit runs through August 9 at the KAL-IBG Theater in UP Diliman. Don’t miss this unique exchange between local regional talent and Manila stage veterans, secure your seats now via Ticket2Me.
The internationally acclaimed revival of Jesus Christ Superstar is heading to The Theatre at Solaire from May 2 to 31, 2026, and here’s the headline fans have been waiting for: multi-awarded Filipina performer Gab Pangilinan will star as Mary Magdalene.
Gab Pangilinan (Mary Magdalene)
Originally slated to close on May 24, the Manila season has officially been extended until May 31 due to overwhelming demand. If your group chat has been buzzing about this production, now you know why.
A Filipino Star Joins an International Powerhouse Cast
Gab Pangilinan has steadily built one of the most impressive theatre résumés in the country. Known for standout performances in The Last Five Years, Side Show, Ang Huling El Bimbo The Musical, and Mula Sa Buwan, she has become a fixture in Manila’s thriving stage scene.
A three-time Philstage Gawad Buhay nominee for Pingkian: Isang Musikal (2024), The Last Five Years (2023), and Mula Sa Buwan (2022), Gab also won Best Leading Female Performance in the Digital Category at the 27th Asian Television Awards for Still: A Musical Narrative Series. She has collaborated with respected theatre companies such as PETA, Tanghalang Pilipino, Atlantis Theatrical, and Full House Theater Company, and most recently appeared in We Aren’t Kids Anymore and Othello.
Now, she steps into one of musical theatre’s most emotionally charged roles.
Carlos Candal, CEO of GMG Productions, shared, “We are incredibly happy to have Gab Pangilinan in the international company of JESUS CHRIST SUPERSTAR. Gab is a respected and accomplished artist, and her casting as Mary Magdalene highlights the strength of Filipino theatre talent. The excitement from audiences has been truly remarkable, and this extension allows even more theatre fans to experience this production.”
For Filipino audiences, this casting feels personal. It is a celebration of homegrown talent standing shoulder to shoulder with global performers.
Meet the International Company
Gab joins principal cast members who have toured the UK, North America, and Australia with this award-winning production.
Luke Street as Jesus
Javon King as Judas
Ethan Hardy Benson as Pilate
Grant Hodges as Caiaphas
Kodiak Thompson as Annas
Luke Street (Jesus)
Luke Street, who has previously alternated as both Jesus and Judas on tour, now takes on the role of Jesus full-time for global audiences. A UK-based actor and singer, best known for his work in musical theatre across the UK and London’s West End. His theatre credits include Ledoux / Alternate Strat in Bat Outof Hell (UK Tour, 2024–2025); Simon / Alternate Judas / Alternate Jesus / Cover Pilate in JesusChrist Superstar (UK Tour, 2023–2024); Alternate Strat / Cover Ledoux in Bat Out of Hell (UK&International Tour, 2022–2023); Hollander / Cover Falco / Cover Ledoux / Cover Jagwire in BatOut of Hell (UK & Ireland Tour, 2021–2022); Frankie Valli in Jersey Boys (International Tour, 2018–2019); Logan Carter in Out There (Union Theatre, 2017);and Little Rock in Gypsy (Savoy Theatre, 2015–2016). Luke is thrilled to be touring internationally once again, following his international tour with Jersey Boys back in 2018–2019. Having previously alternated the roles of both Jesus and Judas, Luke is delighted to now be playing Jesus for audiences around the world.
Javon King (Judas)
Javon King, a Green Room Award winner, reprises his acclaimed portrayal of Judas following successful runs in Australia. The company brings serious musical firepower to Manila. He was last seen as Goldie Wilson/ Marvin Berry in Back to the Future: The Musical at Sydney’s Lyric Theatre. Notable Australian tours and other theatre credits include; Judas in the Jesus Christ Superstar Australian tour, Tristan/Young Man 6 in The Inheritance at forty five downstairs, Sky Masterson in Guys and Dolls at Chapel off Chapel (Green Room Award winner for Best Supporting Actor), and Seaweed J. Stubbs in the Hairspray Australian Tour, where he received a Green Room Award nomination for his performance. Javon received a BFA in Musical Theatre from Rider University in New Jersey. Professionally back home in the US, Javon has toured internationally and across the United States as Angel Dumott Schunard in the 20th & 25th Anniversary Tour(s) of RENT. Other credits include, Henry/Jack understudy in Newsies and Mereb in Aida. He was also in a commercial for “Hairspray Live!” back in 2016 during the airing of the show! He is so grateful for this opportunity and to all of his friends and family back home for their continuous support of his dreams.
Ethan Hardy Benson (Pilate)
Ethan Hardy Benson. Training: University of Michigan, BFA Musical Theatre. Theatre includes: Principal Standby in Rolling Thunder (Off-Broadway), Jesus in Jesus Christ Superstar (The Rev), Pilate in Jesus Christ Superstar (The Ordway), Annas in Jesus Christ Superstar (Broadway Sacramento), Pvt. Clark in From Here To Eternity (Skylight Music), Joseph in JosephAnd The Amazing Technicolor Dreamcoat (Red Mountain TC), Tarzan in Tarzan (Olney CC) Endless gratitude to the entire JCS team, Craig at Avalon Artists, Zoë, and his friends & family.
Grant Hodges (Caiphas)
Grant Hodges Training: Ray Bolger Musical Theater Program at UCLA. Theater: Sweeney u/s in Sweeney Todd (Jason Alexander) Nick Massi in Jersey Boys (MTW), Caiaphas in Jesus ChristSuperstar (50th Anniversary National Tour), Kenickie in Grease (La Mirada), Chuck in Footloose (The Rev), Kristoff/Hans in Frozen – Live at the Hyperion (DCA. )Film/ TV: Voice of Simon/Maxxie in Maxxie LaWow: Drag Super Shero. Various Netflix voice over projects, Bones guest star on FOX. So incredibly grateful to be putting the robes back on and sharing this story with the world alongside some of my favorite human beings. All the love to my family, friends, and everyone at ATB.
Kodiak Thompson (Annas)
Kodiak Thompson grew up in America’s chocolate capital, Hershey, Pennsylvania. He is thrilled to step in to the priest robe across the world after touring the U.S. and Canada with this special production. Kodiak also performed in the Broadway tour of Chicago as Harrison, understudying Billy Flynn and Mary Sunshine. Off-Broadway: DRAG: The Musical. Other favorites: La Cage Aux Folles(Chantal), Head Over Heels (Musidorus), Gypsy (Tulsa), Kinky Boots (Referee Angel), Burn the Floor (NCL Lead Vocalist). Thanks to About Artists Agency, Temple University, and family.
Further casting announcements are expected in the coming weeks.
An Olivier Award-Winning Revival
This is not just another staging of the beloved rock musical. Originally created at London’s Regent’s Park Open Air Theatre, this bold reimagining of the Tim Rice and Andrew Lloyd Webber classic won the 2017 Olivier Award for Best Musical Revival and the 2016 Evening Standard Award for Best Musical. It sold out consecutive engagements in London before launching major tours across the UK, North America, and Australia.
The Guardian called it “A gorgeous, thrilling, heavenly musical.” The Daily Telegraph declared, “Hallelujah! An almighty revelation.”
Now, Manila gets its turn.
The North American Tour company of Jesus Christ Superstar. Photo by Evan Zimmerman for MurphyMade
Why This Musical Still Resonates
Featuring music by Andrew Lloyd Webber and lyrics by Tim Rice, the show first exploded onto the scene in the 1970s as a concept album before opening on Broadway in 1971. The original London production ran for over eight years, becoming the longest-running musical in West End history at that time.
Told entirely through song, the story explores the final days of Jesus Christ as seen through the eyes of Judas Iscariot. It examines loyalty, power, faith, and doubt, all set to a rock score that still feels urgent decades later. Iconic songs like “Superstar,” “I Don’t Know How to Love Him,” and “Gethsemane” continue to captivate new generations of audiences.
Jesus Christ Superstar Jack Hopewell and the company of the North American Tour of Jesus Christ Superstar. Photo by Evan Zimmerman for MurphyMade
Under the direction of Timothy Sheader and choreography by Drew McOnie, this production strips the story down to its emotional core while amplifying its theatrical intensity. Design is by Tom Scutt, with lighting by Lee Curran and sound design by Nick Lidster, ensuring a visually arresting experience inside Solaire’s state-of-the-art theatre.
The Manila engagement of Jesus Christ Superstar runs from May 2 to May 31, 2026 at The Theatre at Solaire. No further extensions will be added.
Tickets are available exclusively through TicketWorld.
Presented by GMG Productions, the Manila season forms part of the major 2026 international tour produced by GMG Productions and David Ian for Crossroads Live and Work Light Productions. The original production was produced by London’s Regent’s Park Open Air Theatre.
If you’ve been waiting for a sign to book, this is it. A globally celebrated revival. A powerhouse international cast. And a Filipino star stepping into one of musical theatre’s most beloved roles.
Manila is about to get a taste of pure imagination. For the first time ever, Charlie and the Chocolate Factory lands in the Philippines, bringing Roald Dahl’s beloved story to life at The Theatre at Solaire from July 8 to July 26, 2026.
This Manila premiere marks a major moment for local theatre fans. Presented by Broadway International Group and Broadway Asia in association with GMG Productions and a roster of global partners, this production invites audiences of all ages into Willy Wonka’s wonderfully inventive world. Whether you grew up with the book, the classic film, or simply love a spectacular night at the theatre, this is one show that promises visual wonder and heart.
Charlie and the Chocolate Factory | Photo by Yingzhou
From Golden Tickets to Pure Imagination
Based on Roald Dahl’s iconic novel, the musical follows young Charlie Bucket on his unforgettable journey inside Willy Wonka’s mysterious chocolate factory. Expect chocolate rivers, nut-sorting squirrels, mischievous Oompa-Loompas, and theatrical surprises at every turn.
Charlie and the Chocolate Factory | Photo by Yingzhou
The show blends beloved songs from the 1971 film such as “Pure Imagination,” “The Candy Man,” and “I’ve Got a Golden Ticket,” with fresh original numbers by Grammy and Tony Award winners Marc Shaiman and Scott Wittman, the creative duo behind Hairspray and Mary Poppins Returns. The result is a production that feels both nostalgic and thrillingly new.
A Global Hit Now Heading Our Way
After a sold-out run at Shanghai Culture Square in November 2025 and raves from audiences across Asia, the Broadway Musical is now making its Manila debut as part of a massive international tour. This global journey will travel through major cities including Hong Kong, Singapore, Beijing, Shanghai, Hainan, Taipei, and Seoul, with Manila proudly on the list.
Charlie and the Chocolate Factory | Photo by Yingzhou
Producers Simone Genatt and Marc Routh describe the scale and imagination behind the show in their statement. “Roald Dahl’s CHARLIE AND THE CHOCOLATE FACTORY is a dazzling fantasy for everyone from everywhere. This new production features miraculous special effects and cutting edge hologauze 3D technology based on advanced magic principles. We are so excited to share the breathtaking world of this beloved Broadway musical about the power of imagination, and the art of invention with Beijing audiences in this spectacular new immersive production from an all-Broadway creative team!”
That same production now makes its way to Manila, complete with the technical wizardry and creative flair that have captivated audiences worldwide.
Charlie and the Chocolate Factory | Photo by Yingzhou
Illusions, Inventions, and Stage Wizardry
A major highlight of the show is its theatrical magic, led by celebrated Las Vegas illusion designer Tim Clothier. Known for creating jaw-dropping stage effects, Clothier brings fresh ideas to Willy Wonka’s world. His passion for theatrical invention shines through in his words. “Willy Wonka is the king of imagination, and being able to design new stage wizardry for that character is a dream come true.”
Expect eye-catching effects, innovative illusions, and immersive stagecraft that bring Dahl’s surreal universe vividly to life.
Charlie and the Chocolate Factory | Photo by Yingzhou
Ticket Details and Early Access
The Manila run is strictly limited, so fans will want to mark their calendars early. Here is how to secure seats:
UnionBank of the Philippines Early Access January 12 to 15, 2026 via ticketworld.com.ph
GMG Productions Waitlist for Early Seating Sign up at gmg-productions.com until January 14 at 11:59pm Philippine Time
Public On Sale January 17, 2026 through TicketWorld
For the latest announcements, follow GMG Productions on Facebook, Instagram, and TikTok, and @charlieglobaltour on Instagram for international tour updates.
The Broadway production of Charlie and the Chocolate Factory premiered in 2017, running for more than 300 performances before touring North America for four years. It later enjoyed success in London’s West End, where it earned two Olivier Awards.
This touring version brings that celebrated legacy to Manila, blending family-friendly storytelling with world-class design, playful choreography, and a score that balances nostalgia with fresh energy. It is a rare chance to experience a Broadway-scale musical locally that speaks to both young audiences and seasoned theatre fans.
Charlie and the Chocolate Factory | Photo by Yingzhou
The Creative Team Behind The Magic
The musical features music by Marc Shaiman, lyrics by Scott Wittman and Marc Shaiman, and a book by David Greig based on Roald Dahl’s novel. Songs from the original motion picture were written by Leslie Bricusse and Anthony Newley.
The original Broadway staging was directed by four-time Tony Award winner Jack O’Brien with choreography by Joshua Bergasse. For the global tour, the production is directed by Matt Lenz, choreographed by Alison Solomon, and musically supervised by Nate Patten and Greg Jarrett.
Design credits include Mark Thompson for set and costumes, Christine Peters for tour scenic design, Jeff Sugg for projections, Rory Beaton for lighting, Mike Thacker for sound, Basil Twist for puppetry, and Tim Clothier for illusions. Orchestrations are by Doug Besterman with musical arrangements by Marc Shaiman.
GMG Productions serves as Manila General Manager, ensuring the show arrives with the same polish seen on international stages.
With its inventive visuals, beloved music, and imaginative storytelling, Charlie and the Chocolate Factory is set to become one of Manila’s most anticipated theatre events of 2026. It is joyful, family-friendly, and filled with moments that spark wonder long after the curtain call.
For show updates and more information about the production, visit www.broadwayasia.com.
The Sandbox Collective revealed the full cast of SPRING AWAKENING,which features a powerful ensemble of theater veterans and rising stars to open the company’s 12th year and 2026 season.
With book & lyrics by Steven Sater, music by Duncan Sheik, and based on the play by Frank Wedekind, SPRING AWAKENING is the groundbreaking, Tony Award–winning musical that follows the turbulent journey of adolescence, where silence is rewarded and curiosity is punished. Exploring timeless themes of mental health, sexuality, growing up, and family life, the show’s power lies in its ability to transcend eras and resonate deeply with audiences across generations.
Director Andrei Nikolai Pamintuan shared that the show’s story mirrors the oppressive ideas our society continues to grapple with.
“This bourgeoisie, which SPRING AWAKENING takes aim at, manifests today in the form of political elites, conservative religious sects, and a ‘parentocracy’ that seek to preserve the status quo — fearing the so-called corruption of youth and resisting what they deemed as ‘radical’ thought and rapidly shifting industries that are reshaping daily life,” Pamintuan said.
“The struggles faced by the young characters in the show — teen pregnancy, sexual and physical abuse, mental health issues, and self-harm — are the very challenges many young people continue to face, particularly in the Philippines,” he said.
THEATER VETERANS, RISING STARS TO TAKE THE STAGE IN THIS LANDMARK MUSICAL
A mix of Philippine theater’s stalwart veterans and rising stars is set to breathe new life into SPRING AWAKENING 20 years after it first premiered on Broadway.
“First Lady” of Philippine Theater Menchu Lauchengco-Yulo and multi-awarded artist Ana Abad Santos will share the role of Adult Woman. Meanwhile, “King of Philippine Musical Theater” Audie Gemora will step into the role of Adult Man.
Menchu Lauchengco-Yulo is a multi-awarded actress, director, and artistic director. Throughout her illustrious career, she has brought to life iconic roles such as Eva Perón in Evita, Fosca in Passion, Mrs. Lovett in Sweeney Todd, and Diana in Next to Normal, as well as appearing in the Manila production of Miss Saigon. Most recently, she captivated audiences as the titular character in the Singapore staging of Kimberly Akimbo.
Making her much-awaited return to stage, Ana Abad Santos is a director, producer, and actress across film, television, and theater. She has earned recognition for her powerful performances in A Streetcar Named Desire (as Blanche DuBois), Portrait of the Artist as Filipino (as Candida), and An Evening at the Opera (as Miranda), among others. Most recently, she appeared in the film “Quezon,” portraying Carmen Hernando.
Appearing in over 70 plays, Audie Gemora is a stage, television and film actor, singer, recording artist, dancer, host, on-camera & voice talent for TV and radio commercials, director, choreographer, producer, impresario and educator. He has played major roles in productions like Pippin, Evita, and Les Misérables, and has won multiple Philstage Gawad Buhay Awards for his performances — notably for Sweeney Todd, The Producers, and La Cage Aux Folles.
Taking the stage alongside theater luminaries are Nacho Tambunting and Alex Diaz who share the role of Melchior Gabor; Nic Chien and Omar Uddin who alternate as Moritz Stiefel; and Sheena Belarmino who will play the role of Wendla Bergmann.
Returning to the Philippine stage after moving to New York, Nacho Tambunting began performing professionally in 2006 in The Sound of Music. Nacho Tambunting originated the role of Felix Starro, Jr. in Felix Starro—the first Filipino-American musical to premiere Off-Broadway. He was most recently seen as Jake in the world premiere of Everything Beautiful Happens at Night. A proud member of SAG-AFTRA and Actors’ Equity Association, he has also appeared on TV and in film.
Alex Diaz is a multi-hyphenate, Gawad Buhay nominated stage, film, and television actor whose journey began as a student radio DJ before being launched in Star Magic Circle 2013. He made his theatrical debut as Racetrack Higgins in Disney’s Newsies and was most recently seen as Chris Abueva in Bar Boys: The Musical.
Nic Chien made his professional musical theater debut in Matilda, and has wanted to be a theater actor ever since. He most recently played the role of Jack in Into the Woods. Nic has also made numerous concert appearances alongside his mother, Lea Salonga. In 2023, he participated in the English Speaking Union’s National Shakespeare Competition where he placed third.
Omar Uddin has been in the entertainment scene since age 12, being a regular for the fourth and fifth season of Team Yey! and 2 Good 2 Be True. He made his theatrical debut in Tagu-taguan Nasaan Ang Buwan? and has continued to play lead roles in shows such as A Christmas Carol, The Lion King International Tour, Bar Boys: The Musical, Next To Normal and, most recently, Quomodo Desolata Es?.
Star Magic artist Sheena Belarmino is a singer, dancer, and actress. She started her career in reality competitions like Dance Kids, Tawag ng Tanghalan Kids, and Your Face Sounds Familiar Kids. At the age of 8, she started her theater career in Cebu, and has since played iconic roles such as Basha in One More Chance: The Musical, Eds Delos Santos in Tabing Ilog, and Natalie Goodman in Next To Normal.
Also joining the cast are Angelo Martinez as Hänschen Rilow; Vino Mabalot as Otto Lämmermeier; Jam Binay as Ilse Neumann; Angia Laurel as Martha Bessell; Mijon Cortez as Anna; Felicity Kyle Napuli as Thea; Elian Dominguez as Ernst Röbel; and Davy Narciso as Georg Zirschnitz.
Angelo Martinez is a Singapore-based performer and the first Filipino to portray Evan Hansen in the Southeast Asian production of Dear Evan Hansen. He was last seen as Aaron Puckett in Kimberly Akimbo alongside Menchu Lauchengco-yulo. Spring Awakening marks his homecoming debut in the Philippines.
Vino Mabalot is an actor and stratospheric tenor known for his emotionally distinctive performances. He is currently performing as the Mock Turtle in Alice in Wonderland, and was recently seen as Tony Javier in Quomodo Desolata Es? and Gabe Goodman in Next to Normal.
Jam Binay is a sought after theater actress and has been seen in different roles in various productions such as Pingkian: Isang Musikal, Next to Normal, In the Eyes of the People, Bar Boys: The Musical, and understudy in Ang Huling El Bimbo.
Making her theatrical debut, Angia Laurel is a dynamic and passionate singer-songwriter and actor. She graduated from De La Salle–College of Saint Benilde with a degree in Production Design for Theater, and has earned critical acclaim for her debut single “Back Again” under ABS-CBN Music’s Tarsier Records. Her upcoming single “Talon” is set for release this November, with her first full-length album following in early 2026.
Mijon Cortez is a musician, singer-songwriter, sound designer, and actor whose work bridges music and theater. She began her artistic journey in student theatre with productions such as The Importance of Being Earnest, Lady Aoi, and Las Viajeras.
Felicity Kyle Napuli is an actress known for her work in theater, television, and film. She has portrayed numerous characters onstage including Becky in A Little Princess, Matilda in Matilda the Musical, and Young Nala in Disney’s The Lion King international tour. Recently, she is known for lending her vocals to the Tagalog dub of K-Pop Demon Hunters.
Elian Dominguez is a theater artist and eco-warrior with a Bachelor’s Degree in Environmental Science from Ateneo de Manila University. He made his professional theater debut in The 25th Annual Putnam County Spelling Bee, which was followed by his role as Jepoy in Jepoy and the Magic Circle. He’s most recently seen in Bar Boys: The Musical.
Davy Narciso is a theater actor who has played different roles in productions such as Next To Normal; I Love You, You’re Perfect, Now Change; and Othello, among others. During his time in college, he also starred in various productions as an active performer of the Ateneo Blue Repertory.
Rounding out the cast are Female Swings Pappel and Nikki Bengzon, and Male SwingsLance Soliman and Gabo Tiongson.
Pappel is a singer-songwriter under O/C Records, and member of The Busking Community. She’s last seen in Side Show: The Musical and Bar Boys: The Musical. Nikki Bengzon makes her professional musical theater debut in Spring Awakening. She was last seen in A Midsummer Night’s Dream and Ateneo Blue Repertory’s production of Next To Normal.
Lance Soliman is a musical theater artist, vocal coach, events performer, and recording artist. He was last seen in Alice in Wonderland and Jepoy and The Magic Circle. Gabo Tiongson is an accomplished performer, a virtuoso of the acoustic guitar, a versatile voice-over artist, and a champion at cheerdancing. He was recently seen in Alice in Wonderland.
With Pamintuan at the helm, the artistic team of SPRING AWAKENING also includes Ejay Yatco as musical director, Nunoy Van Den Burgh as choreographer, Missy Maramara as intimacy director, Wika Nadera as set designer, Raven Ong as costume designer, D Cortezano as lighting designer, Gabbi Campomanes as assistant director, Salve Villarosa as dramaturg, Aron Roca as sound designer, Sheik Completado as technical director, and Jaydee Jasa as hair and makeup designer.
SPRING AWAKENING is the inaugural show of The Black Box at The Proscenium Theater in Rockwell, Makati. The show will run from February 13 until March 22, 2026. Tickets are now available on Ticket2Me (tinyurl.com/SandboxSpring2026).
SPRING AWAKENING is presented through special arrangement with Music Theatre International (MTI), New York, NY, USA.
For more information, follow The Sandbox Collective on Facebook, Twitter and Tiktok – @TheSandboxCo. You may also visit our website at www.thesandboxco.com.
Feel the Revolution: Les Misérables Returns to Manila! Les Misérables: World Tour Spectacular is charging into The Theatre at Solaire from January 20 to February 15, 2026, for a limited run that’ll leave you speechless. This isn’t just a show; it’s a global sensation marking its 40th anniversary with a bold, arena-sized twist. Curious about Jean Valjean’s saga of redemption and rebellion? Here’s your guide to tickets, vibes, and why this musical is the talk of the town.
Why This Les Mis is a Game-Changer
Unlike previous runs, the World Tour Spectacular isn’t just a retelling—it’s a complete visual and musical overhaul. Think: massive set pieces, fresh lighting design, cinematic projections, and a powerhouse cast and orchestra of over 110 performers and crew, including global stars and Filipino talents, bring Victor Hugo’s story to life with a live orchestra led by Adrian Kirk. It’s a souped-up evolution of the smash-hit Les Misérables: The Staged Concert, which rocked London’s West End for over 200 shows. Producer Cameron Mackintosh has pulled out all the stops, with jaw-dropping set designs, dazzling lighting by Paule Constable, and immersive projections by Finn Ross. Scotland’s Daily Record nailed it: “This powerfully perfect production lifts the roof off!” Ready to belt along to “I Dreamed a Dream” and “Do You Hear the People Sing?”
Ensemble – photograph by Danny Kaan
Manila’s Love Affair with Les Mis
Filipinos have a soft spot for Les Misérables, with its last Solaire run in 2016 sparking standing ovations and sold-out shows. This 2026 comeback, presented by GMG Productions, promises to be bigger and bolder. “We’re thrilled to bring this monumental show back in a format Manila has never seen,” says GMG’s CEO Carlos Candal. The story of sacrifice, love, and revolution hits home with Pinoy audiences, blending grit and heart in a way that feels oh-so-Filipino. Whether you’re a theater newbie or a Les Mis stan, this is your moment to witness a legend reborn.
Enjolras (James D. Gish) and Ensemble – photograph by Danny Kaan
The show takes over The Theatre at Solaire, a venue known for its plush seats and killer sound, from January 20 to February 15, 2026. With only four weeks of performances, tickets are hotter than a Quiapo street market at noon. Don’t wait, this spectacle is set to sell out faster than you can say “One Day More.”
Ensemble – photograph by Danny Kaan
Your Ticket to the Barricades
Tickets drop on August 11, 2025, via TicketWorld, but savvy fans can jump the queue with pre-sale access from August 4 to 7. UnionBank cardholders and those on GMG’s waitlist (sign up at www.gmg-productions.com) get first dibs. Follow @gmg.productions on social media for the latest updates and potential VIP packages. Ticket prices are still hush-hush, but expect options for every budget, stay tuned for the reveal!
What’s the Show’s Vibe?
Directed by James Powell and Jean-Pierre Van Der Spuy, this Les Misérables is built for epic venues, with a 2-hour-50-minute runtime (including intermission) that packs an emotional punch. Expect lush costumes by Andreane Neofitou, soundscapes by Mick Potter, and a score by Claude-Michel Schönberg that’ll give you chills. From Cosette’s tender “Castle on a Cloud” to the fiery “Red and Black,” every moment pops. Sydney’s The Guardian raved, “Do you hear the people sing? I did, and it was magical.” This is theater that grabs your heart and doesn’t let go.
Marius (Jac Yarrow) & Éponine (Emily Bautista) – photograph by Danny Kaan
Who’s on Stage?
Full casting details are coming soon, but whispers hint at a mix of international heavyweights and local stars. With a company of over 110, including a live orchestra, the stage will be bursting with talent. Past tours featured names like John Owen-Jones, so Manila might get a similar star-studded lineup. Check www.gmg-productions.com for updates—could a Filipino favorite steal the spotlight as Éponine or Javert?
Marius (Jac Yarrow) – photograph by Danny Kaan
Seen by over 130 million people in 54 countries, Les Misérables is a theatrical titan. Based on Victor Hugo’s novel, it follows Jean Valjean’s quest for redemption against the backdrop of a turbulent France, chased by the unyielding Inspector Javert. Its themes of justice and hope resonate deeply, and Herbert Kretzmer’s lyrics paired with Schönberg’s music make every song a classic. As Sydney’s Limelight put it, this production “sweeps you up in its grip.” It’s not just a show—it’s a movement.
From its record-smashing Australian run to its Asian leg, Les Misérables: World Tour Spectacular is a bucket-list experience. Whether you’re a musical theater junkie or just love a good story, this Manila stop is your chance to see a global icon in a fresh, electrifying light. Grab your tickets, bring your crew, and get ready to sing your heart out at The Theatre at Solaire in January 2026. Will you answer the call of the barricades?
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, visitwww.repertoryphilippines.ph.
For updates and show schedules, visit www.repertoryphilippines.ph, or like and follow @repertoryphilippines on Facebook and Instagram.
Dudz Terana’s and Vince Lim’s musical adaptation of Gabriel Garcia Marquez’s short story, ‘The Trail of Your Blood in the Snow’ called ‘Niyebe: Isang Experimental Na Musikal’ is running until March 27 at the FEU Center for the Arts Studio. Dubbed as an “experimental musical,” the play is a wonderful showcase for the blossoming talent of the Far Eastern University Theater Guild (FTG) and their incredible range of singers who masterfully bring to life the beautiful songs of the play.
Taking much from the source material, ‘Niyebe: Isang Musikal’ tells the story of the Colombian couple, Billy and Nena, who fall in love, get married, and in their honeymoon, travel to Spain and then to Paris where a tragedy befalls them.
Nena suffers a cut from a thorn of a rose and, very much like the magical realism of Latin American literature, the wound never heals, and Nena is taken to a hospital in Paris where Billy is left outside to wait for news as the visitation hours in the hospital are only once a week. Alone, in Paris, Billy suffers alone while waiting for news of his ailing wife.
As a short story, it’s an easy read, but in a play, Terana (who wrote the book and the lyrics and directed this staging) expands the world to fully detail the couple’s childhood, which include the Colombian conflict in 1964. The play is experimental as the story is told in a non-linear manner. Even with a narrator, the narrative jumps from their childhood to Billy waiting for news in the streets of Paris, jumping again to when Billy and Nena are falling in love while in school and so on and so forth. It goes beyond just a storytelling effect when, in one scene, the younger versions of Nena and Billy have conversations with the older versions of themselves: a four-way conversation between what is essentially just two people. It’s moment like this, in the play, when the brilliance of the material’s theatricality really captures the audience’s interest.
The music, in of itself, is wonderful and melodic. The play is almost completely sung through, with a few parts for dialogue. Luckily, the whole cast are excellent singers – not just the three leads – but an exciting ensemble who enter and exit as various individuals within the story all building a fully-fleshed out world while providing set changes, bringing in and out of props, and creating the clamor needed for certain scenes. There’s a lot of good happening here.
On the other hand, while everyone are such good singers, there’s a need to sharpen their movement quality. A number of them need to learn to finish their extensions, while some need to pin down their timing. Some need to put intention and story behind every movement. There’s quite a number of dancing here, excellent choreography by Carlon Matobato, but some understand the intention while others are just doing steps. And while a lot of them are fully committed to their roles, the fact that the characters and the milieu is Colombian and the themes are in the realm of the existential, there are times when the performers sometimes does not quite capture the nuance of the moment. But this is an issue of maturity. What they can process from their own experience is enough to capture the moment. It’s going to be very interesting to see them grow more as artists when they gain more experience and a larger worldview.
But what really grounds the work and makes it incredibly enjoyable is the power and charisma of its two leads – Dave Bambang and Kesiah Aritao as Billy and Nena, respectively – who are not just magnetic performers but incredibly talented singers. As they navigate the demands of their songs, they infuse with a lot of passion and emotions that the play feels connected by the bond they create for their characters. You might get lost with the non-linear narrative storytelling, but Bambang and Aritao anchors it in their love story. These two have such a strong presence that it keeps you rooted and can stop the play from falling out of orbit.
There’s a roughness to the FTG’s production of ‘Niyebe: Isang Experimental Na Musikal’ that also gives it its charm but what the show really showcases are the gorgeous songs of this musical and the powerful voices of the FEU Theater Guild.
My Rating:
Niyebe: Isang Experimental Na Musikal will run until March 27, 2025 at FEU Center for the Arts(FCA) Studio, Ground Floor, Engineering Bldg., FEU Manila. Get your tickets at here.
In an era where misinformation spreads faster than light and truth seems to wear many faces, the question asked over 2,000 years ago by one of the most divisive persons in history still reverberates with haunting relevance: “Ano ba ang katotohanan?” This serves as the heartbeat of Pilato, an all-original Filipino musical set to captivate audiences this April at the PETA Theater Center.
With its daring perspective and poignant relevance, the production revisits the so-called “greatest story ever told”–the trial and crucifixion of Jesus Christ–through the eyes of Poncio Pilato, a man caught at the crossroads of power, faith, and duty.
The musical traces Pilato’s journey from his early ambitions in Rome to his appointment as prefect of Judea, a province brimming with religious and political unrest. There, Pilato’s every decision is scrutinized by a constellation of figures: the enigmatic historiographer, Josepo; the calculating high priest, Caiaphas; his wise and foreboding wife, Procla; and Hesus, a mysterious and magnetic presence rumored to be the King of the Jews.
In a time when Holy Week invites reflection and as the country approaches the critical 2025 elections, Pilatoemerges as a vital meditation on truth in all its complexity. Through haunting melodies and powerful storytelling, it challenges us to confront the choices we make as individuals and as a society.
“Information comes to us in countless forms and modes. But how do we sift through the chaos to uncover the truth? Would we even recognize the truth if we meet it face-to-face?” shares writer-director Eldrin Veloso. “Essentially, that is what the play hopes to put out there–a journey that dares to unravel the mystery of truth’s many faces. With our society on the brink of a post-truth era, I believe this is a story that demands to be told, now more than ever.”
With a cast of seasoned musical theater artists and gifted newcomers, Pilato offers an emotional and intellectual journey unlike any other. It is a poignant reminder that even after two millennia, the search for truth remains both our greatest burden and our ultimate salvation.
This marks the inaugural theatrical venture of The Corner Studio, a creative agency renowned for weaving compelling narratives through its expertise in branding, production, marketing, and design. Now, it steps boldly onto the stage, bringing its storytelling vision to life in a new dimension.
Don’t miss Pilato on April 4 at 8pm for its world premiere and on April 5, 6, 11, 12 and 13 at 3pm and 8pm, at the PETA Theater Center.
Tickets are now available at pilato.helixpay.com. Follow them on social media for updates and behind-the-scenes content.
