After its successful 2026 theatrical run of About Us But Not About Us, IdeaFirst Live! hosted a press conference to unveil their 2027-2028 season slate and it is packed with powerhouse productions!
The theater arm of the film studio that brought us hit movies like Call Me Mother, And The Breadwinner Is…, and the acclaimed Sisa is pushing through with some big stage productions next year, some in the same vein as this season’s roster while introducing something new.
Following the success of the theatrical adaptation of the movie About Us But Not About Us, it seems like a natural move to adapt another one of Jun Robles Lana’s beloved films onto the stage. His acclaimed movie Die Beautiful is set to take the stage, this time transformed into a full-scale musical.
Die Beautiful: The Musical will make its way to the Proscenium Theater in June 2027, featuring a new book and lyrics by Jun Robles Lana and Elmer Gatchalian. Directed by Tuxqs Rutaquio, the musical reimagines the enduring friendship between Trisha and Barbs. While the original film centered on traditional beauty pageants, this modernized stage adaptation shifts the spotlight to drag culture and the fabulous lives of its queens. The initial cast announcement includes Audie Gemora, Karylle, Esang de Torres, Maxie Andreison, Viñas Deluxe, Lance Reblando, and Chamyto.
While this pivot modernizes the story to mark the decade since the movie’s release, many of its core narrative elements will remain intact. Hopefully, the friendship between Trisha and Barbs takes center stage as their deep bond was the strongest element of the film for me. Director Tuxqs Rutaquio shared that on of the challenges will be reimagining the transformations from the original source material as these were easily done in the medium of film. While Paolo Ballesteros spent hours in make up chairs for each onscreen to transform into the many celebrities whose faces he fashioned himself into in the movie, Rutaquio says we have to wait and see how he will do the same for the theatrical adaptation.
Come October, IdeaFirst Live will follow up with Victorina, a play centered on one of Jose Rizal’s most infamous characters from Noli Me Tangere and El Filibusterismo. Directed by Chris Martinez with a book by Jun Robles Lana, Victorina will almost be a one-woman show. While there are other performers, the whole play is teased to be almost one extended monologue that promises to be funny, satirical, and fiercely biting. Bringing this iconic character to life on stage is none other than the comedic genius Eugene Domingo. I don’t need to know anything else about the production, Eugene Domingo directed by Chris Martinez in an almost one-woman show? Sign me up. Victorina is set to open at the PowerMac Spotlight Blackbox Theater in Circuit, Makati.
If you caught the film or stage play version of About Us But Not About Us, then you know that an important element of that story is the book Teorya ng mga Tanong, penned by the character Lancelot Guinto (played by Elijah Canlas). Idea First Live also released the physical book under Lancelot’ Guinto’s name, and now, that book is being adapted into a stage play. Directed by Tuxqs Rutaquio with a script by Jun Robles Lana, the production stars Romnick Sarmienta, Elijah Canlas, and Epy Quizon, who return to play the characters from the book that was inspired by the characters from About Us But Not About Us. In a way, this IdeaFirst’s most meta offering yet, as the play explores the thin boundary between reality and fiction. The show will be in March 2028 at the PowerMac Center Spotlight Blackbox Theater in Circuit Makati.
Finally, the company teases us about a mysterious final production without revealing its title, any indication of its form, or genre. Perci Intalan and Jun Robles Lana of IdeaFirst Company hints that it will be a different kind of show, one that “changes the way we experience theater.” The only clue, a red question mark dripping blood against a black background, Could it be an immersive horror experience or a haunted house? It’s anybody’s guess for now.
GMG Productions is pleased to announce a special Filipino Sign Language (FSL)-interpreted performances of the Olivier and Tony Award-winning comedy THE PLAY THAT GOES WRONG on November 13, 2026 and the cult classic HEATHERS THE MUSICALon February 2, 2027.
The performances will feature live FSL interpretation by Filipino Sign Language interpreters and Deaf consultants from the De La Salle–College of Saint Benilde Center for Education Advancement of the Deaf (CEAD) and School of Deaf Education and Applied Studies – Interpreting Education Program (SDEAS-IEP).
The initiative builds on GMG Productions’ ongoing efforts to expand access to international theatre productions in the Philippines through partnerships with members of the Deaf community and sign language professionals.
Carlos Candal, Founder and CEO of GMG Productions, said:
“Live theatre should be experienced by everyone. It is a shared experience, a chance to laugh together, feel something together, and be transported by the power of a story and the people bringing it to life. Accessibility is an important part of making that possible.
We are very happy to offer FSL-interpreted performances of The Play That Goes Wrong and Heathers the Musical, and to welcome more members of the Deaf and Hard-of-Hearing community into the theatre. The Play That Goes Wrong is a joyful, wonderfully chaotic show, while Heathers the Musical brings its own bold, darkly comic energy to the stage. We hope audiences can experience the humour, energy, and theatrical magic of both productions together.
We are grateful to the Deaf consultants and FSL interpreters helping us make these performances possible. Their expertise and collaboration are helping us create a more inclusive experience for everyone.”
A dedicated orchestra seating section will be available for Deaf and Hard-of-Hearing audiences and their companions, with clear sightlines to both the stage and the interpreters. Tickets may be purchased using the promo code ACCESSSEATS to receive 20% off. Patrons with a valid PWD ID may also avail of the standard PWD discount at physical TicketWorld outlets.
THE PLAY THAT GOES WRONG
GMG Productions, in association with Mischief Worldwide Ltd., presents THE PLAY THAT GOES WRONG, described by audiences around the world as one of the funniest live shows ever created. This brilliantly choreographed slapstick comedy delivers one hilarious mishap after another, all with impeccable comic timing.
What begins as an amateur theatre company’s earnest attempt to stage a classic murder mystery quickly unravels into complete mayhem. As collapsing sets, disappearing props, forgotten lines and perfectly timed mishaps derail the performance, every theatrical disaster becomes comedy gold, delivering nonstop laughter through masterful physical comedy and spectacular chaos.
THE PLAY THAT GOES WRONG runs November 6–22, 2026, at The Theatre at Solaire, with tickets available via TicketWorld. Its FSL-interpreted performance takes place on November 13, 2026.
HEATHERS THE MUSICAL
GMG Productions, in association with Bill Kenwright Ltd. and Paul Taylor-Mills, brings the award-winning HEATHERS THE MUSICAL to Manila for its Philippine premiere from January 21 to February 7, 2027, at The Theatre at Solaire. The darkly comic rock musical follows Veronica Sawyer as she navigates Westerberg High’s ruthless social hierarchy—and the deadly consequences of trying to fit in.
With its wicked humour, unforgettable characters, and mercilessly catchy score featuring songs such as “Seventeen,” “Candy Store,” “Meant To Be Yours,” “I Say No,” and “Dead Girl Walking,” Heathers the Musical turns high school status, friendship and identity into a bold, irreverent, and thrillingly theatrical experience.
HEATHERS THE MUSICAL runs January 21–February 7, 2027, at The Theatre at Solaire, with tickets available via TicketWorld. Its FSL-interpreted performance takes place on February 2, 2027.
It is a night at the circus at the Theater at Solaire as Tim Lawson & Sam Painter, in partnership with GMG Productions, present Cirque Alice, a circus adaptation of Lewis Carroll’s “Alice’s Adventures in Wonderland”. The delightful two-hour show blends music, dance, acrobatics, and magic to showcases the human body pushed to its physical limit. It is both awe-inspiring and heart pumping, leaving the kids in the audience and myself thoroughly impressed by the show.
Cirque Alice | Photo courtesy of GMG Productions
The show loosely follows Carroll’s classic tale: Alice (Layla Schillert) pursues the White Rabbit (Raphael Papo) down the rabbit hole and into Wonderland. There, she encounters many eccentric characters based on the novel, each bringing a distinct act to the stage.
Cirque Alice | Photo courtesy of GMG Productions
Most of them are acrobats and gymnasts, such as The Tweedles (Temesgen Adole Zada and Leul Derreje Ashebir), who balance atop one another and while one is balancing on the other’s legs, the lower performer juggling his partner at a frightening speed! Another standout is example is Vladyslav Tsarov as the Snap-Dragon, an aerialist who does beautiful poses in the air while suspended from a single pole.
Cirque Alice | Photo courtesy of GMG Productions
The show is packed with these death-defying stunts that push the limits of the human body and mind. I’ve never seen a circus show live before and it’s really quite an experience. The Doormouse (Daniel Onofre) performs a balancing act that grows increasingly precarious with every level. When you see it in front of you, how high Onofre gets, and how unstable his platform is, you can’t help but get stressed out but are also amazed by the skill that it takes to perform this stunt.
Cirque Alice | Photo courtesy of GMG Productions
Creative Directors Kirsty White and Ash Jacks McCready do a splendid job creating the flow of the performances. Schillert delivers a strong vocal performance as Alice, she gets to sing operatic songs like “The Flower Duet” from Lakme and “Ave Maria” in-between some performances, while the Mad Hatter (Darren “Dizzy” Partridge) does a comedy act with magic that includes audience participation.
Cirque Alice | Photo courtesy of GMG Productions
To transition between major acts, dancers dressed in lavish costumes perform with great choreography by Dane Bates, keeping the show’s energy fluid. The White Rabbit doubles as a violinist who also takes the spotlight at times to help keep things moving along.
Cirque Alice | Photo courtesy of GMG Productions
The pace is fast, and while the acts are shorter than they seem – feeling extended only because they can be intensely stressful (if it involves high-altitude balance acts) or beautiful (like many of the aerial stunts) – they help create such an experience that you feel constantly engaged. No single one performance is better than the other; rather, each showcases its own distinct artistry and unique skill set.
Cirque Alice | Photo courtesy of GMG Productions
The Caterpillar is brought to life by Munkhjin Tuvd, Bayarmaa Ganbat, Shinechimeg Otgonbayar, and Dolgorsuren Ganbold, a quartet of skilled contortionists and acrobats. Their choreography cleverly mimics the shifting movement of a caterpillar’s legs as they climb atop one another to form incredible physical tableaus.
Cirque Alice | Photo courtesy of GMG Productions
The March Hare (Viktor Hladchenko) is a hoop acrobat who performs amazing thing with a Cyr wheel, while the Queen of Hearts (Vladyslav Tsarov) is a solo contortionist and gymnast who strikes seemingly unimaginable poses atop an elevated crescent hook.
Cirque Alice | Photo courtesy of GMG Productions
My personal favourite? The Flamingos (Duo Daylight: Anna Stelmakh and Evgenii Slepukhin), rope aerialists who essentially perform ballet in the sky. Their routine is graceful and romantic, and the stunts that they do tells its own story.
Cirque Alice | Photo courtesy of GMG Productions
It is an incredible production: simple in concept, yet executed wonderfully. I never thought I’d go and enjoy a live circus show so thoroughly, but the sheer wonder of the performance took me by surprise at how it made me feel. Judging from the audience’s reactions around me – especially the kids – I wouldn’t be surprised we were all inspired by that show as well.
My Rating: 4.5 Stars
Flying acrobats, daring aerialists, and a Wonderland like no other: Cirque Alice is a must-see spectacle for the entire family. With only few performances left, don’t miss your chance to experience the magic before it closes on October 25. Secure your seats now through TicketWorld!
Manila-based Filipino actor Mikkie Bradshaw-Volante will play Sandra, a leading member of the Cornley Drama Society who takes on the role of Florence Colleymoore in the company’s increasingly disastrous 1920s murder mystery. She joins principal cast members from Britain, Australia, New Zealand, and the United States, bringing together a company of performers from five countries for the Manila season.
She will be joined by Tom Babbage (Chris), Owen Jenkins (Robert, West End), Sebastiano Pitruzzello (Max, 2025 Australia and New Zealand 10th Anniversary Tour), Liam Horrigan (Jonathan, West End and UK tour), Tom Hayward (Dennis), Olivia Charalambous (Annie, Australia and New Zealand), Jake Curran (Trevor, West End) and Stephanie Astrid (female understudy, Sandra at the Sydney Opera House). The production is directed by Hannah Sharkey.
Carlos Candal, CEO and Founder of GMG Productions, on assembling a global cast:
“For GMG Productions, this casting is deeply personal. Seeing Mikkie Bradshaw-Volante, a Filipino artist of extraordinary calibre, who was also a member of our Filipino-led production of Come From Away, and who brings such a hilarious, unhinged spirit to the stage, stepping into one of theatre’s most iconic roles fills us with pride. Bringing her together with world-class performers from Britain, Australia, New Zealand, and the United States is exactly what we set out to do when we founded GMG: to give Filipino audiences the chance to experience theatre at the highest level, with one of our own shining at its heart.
If this company were any more international, we’d need subtitles; luckily, the chaos of THE PLAY THAT GOES WRONG needs no translation at all.”
Mikkie Bradshaw-Volante has spent over a decade onstage, making her professional debut in 2011 as Liesl in Resorts World Manila’s The Sound of Music. Since then, she has taken on a diverse range of roles, including Carrie in Carrie the Musical, Barbara Smith in Run for Your Wife, Annette in the Asian tour of Saturday Night Fever, Medium Alison in Fun Home, Lauren in Kinky Boots, Cynthia Weil in Beautiful: The Carole King Musical, and Johanna in Sweeney Todd. Most recently, she portrayed Carrie Pipperidge in Repertory Philippines’ Carousel, earning her first Gawad Buhay Award for Female Featured Performance in a Musical.
Awarded the 2014 WhatsOnStage Award for Best New Comedy, the 2015 Olivier Award for Best New Comedy and a Tony AwardⓇ for its Broadway transfer, THE PLAY THAT GOES WRONG has grown from a first performance at The Old Red Lion 10 years ago—attended by just four paying customers—to a global phenomenon now playing in over 30 countries and seen by more than two million people. Created by Mischief’s Henry Lewis, Jonathan Sayer and Henry Shields, the award-winning smash-hit comedy continues to delight audiences in the West End and around the world, arriving in Manila as part of its international journey following acclaimed runs in more than 50 countries over the past decade.
THE PLAY THAT GOES WRONG follows the Cornley Drama Society as it attempts to stage The Murder at Haversham Manor, a 1920s murder mystery. But as opening night unfolds, everything that can go wrong does: the set collapses, props disappear, cues are missed, lines are forgotten and the performers must battle on through escalating chaos.
Tickets for THE PLAY THAT GOES WRONG, playing at The Theatre at Solaire from November 6 to 22, 2026, are available through ticketworld.com.ph. For updates and exclusive announcements, visit www.gmg-productions.com or follow @gmg.productions
ABOUT THE CAST
Tom Babbage as Chris
Originally from Somerset, Tom trained at the Royal Central School of Speech and Drama. His theatre credits include Murder for Two (SJT and Bolton Octagon), The Little Mermaid (Watermill), The Two Gentlemen of Verona (RSC), Putting it Together (Playground Theatre/Salisbury Celebrate Voice), Fun at the Beach Romp-Bomp-A-Lomp!! (Southwark Playhouse), The Fair Maid of the West (RSC), The Motive and the Cue(National Theatre), Boundless as the Sea and Miss Littlewood (RSC/Cunard), Cluedo (UK premiere and tour), The Play That Goes Wrong (UK Tour and West End – Duchess Theatre), Peter Pan Goes Wrong (UK Tour), The Wizard of Oz (Brewhouse Theatre Taunton), Toys – The Musical(CityWalk Dubai), The Garden (Tristan Bates Theatre), Around the World in Eighty Days (Brewhouse Theatre Taunton), Arianna in Creta (Royal College of Music), and Widows and Children First! (Jermyn Street Theatre).
His film and television work includes Amandaland (BBC), The Candidate, Memories: Brothers – A Lasting Legacy, Beauty, Spaceboy, Brief Intermission, Easy Ride (music video), and Cracking Shakespeare (educational film).
Workshop credits include Cockfosters (Riverside Studios), Caroline: A New Musical (NT Studios), The Two Gentlemen of Verona (RSC), That Bastard, Puccini! (RJG Productions), Midsomer Murders: The Killings at Badgers Drift (Nicholson Green Productions), a confidential RSC workshop, Iolanthe (JB Theatre Productions Ltd), Legends of Arahma (Central Studio, QMC), Bedbug and Featherboy (both National Theatre), and The Wall (Pink Floyd and Complicité, directed by Simon McBurney).
Tom is also an established voiceover artist, working across video games, commercials, podcasts, and audiobooks for publishers including HarperCollins, Macmillan, and Bloomsbury; his 2025 recording of Tiny Hercules has been shortlisted for “Best Children’s Audiobook” at the British Audio Awards.
Owen Jenkins as Robert
Owen trained at The Oxford School of Drama. His theatre credits include The Play That Goes Wrong (West End), The Hitchhiker’s Guide to the Galaxy (Riverside Studios), Doctor Who: Time Fracture (Immersive Everywhere/BBC), David Walliams’ The First Hippo on the Moon(International Tour), An Enemy of the People, David Baddiel’s Animalcom, and One Duck Down (UK Tours), as well as Stranger Things and Wishmas (Secret Cinema), The Jolly Christmas Postman (Oxford Playhouse), Raymond Briggs’ The Bear (Birmingham MAC), The Game’s Afoot, and The Marvellous Imaginary Menagerie (Les Enfants Terribles). His screen credits include Milk (Blue Ethel) and Trickle (Ravanburn).
Owen is also a director, writer, and voice-over artist. He is an Artistic Director and writer for award-winning theatre company FacePlant Theatre and co-creator of critically acclaimed audio series At Your Peril.
Sebastiano Pitruzzello as Max
Following the 2025 Australia & New Zealand 10th Anniversary Tour of The Play That Goes Wrong, Sebastiano returns to his professional theatre debut role as Max. His previous credits include the Australian premieres of STOP/OVER (Three Fates Theatre) and BACON (Melbourne Fringe 2023). He graduated from Federation University Arts Academy in 2019.
Liam Horrigan as Jonathan
Liam is an actor and writer from Essex who trained at the Royal Central School of Speech and Drama. His theatre credits include The Play That Goes Wrong (West End and UK Tour), Cluedo and Cluedo 2 (UK Tours), Haywire (The Barn Theatre), Cockfosters (Southwark Playhouse), Ben Hur (Barn Theatre), The Devils (Embassy Theatre), and A Midsummer Night’s Dream (Webber Douglas Studio). His audio credits include The Queen Philippa (2handers/BBC) and DMs Are Open (BBC Studios), and his film credit is Third Bench on the Left (CPO Productions).
Liam is also a co-host of the award-nominated podcast You’re On Tonight, which explores the experiences of actors, understudies, and swings stepping onstage at the last minute.
Tom Hayward as Dennis
Tom Hayward is an emerging performer from Wellington, New Zealand. In 2023, he completed his Bachelor of Creativity in acting for stage and screen at Te Auaha. That same year, he performed in the HATCH showcase for TAHI (New Zealand Festival of Solo Performance), where he demonstrated his skills as a comedic actor and playwright.
Last year, Tom made his professional theatrical debut, playing Dennis in the Australia and New Zealand tour of The Play That Goes Wrong. He is now excited to jump back into that same world to help bring the joy of Mischief Theatre to a brand-new audience.
Mikkie Bradshaw-Volante as Sandra
Mikkie Bradshaw-Volante is a Manila-based actor, singer, and host with over 15 years of experience on stage. Most recently, she played the Baker’s Wife in Theatre Group Asia’s sold-out and critically acclaimed production of Into the Woods. She also portrayed Antonia in Repertory Philippines’ Man of La Mancha and Raquel in Barefoot Theatre Collaborative’s Anthropology.
Her theatre credits include Carrie Pipperidge in Repertory Philippines’ Carousel, for which she received the Gawad Buhay Award for Best Supporting Actress in a Musical, as well as Medium Alison in Fun Home, Carrie in Carrie the Musical, Barbara Smith in Run for Your Wife, Annette in Saturday Night Fever the Musical (Manila, Malaysia, and Singapore), Lauren in Kinky Boots, Una in Blackbird, Cynthia Weil in Beautiful: The Carole King Musical, and Johanna in Sweeney Todd (Manila and Singapore).
Olivia Charalambous as Annie
an Australian actor and director who graduated from the National Institute of Dramatic Art (NIDA) with a Bachelor of Dramatic Art (Acting) in 2013. Her selected performance credits include Les Misérables (10th Anniversary Production, Cameron Mackintosh), Spring Awakening (Original Australian Cast, Sydney Theatre Company), Puffs (Original Australian Cast, TEG/LifeLike Touring), Young Frankenstein (Hayes Theatre Co), and Hamlet: Prince of Skidmark (The Listies/Critical Stages/Sydney Theatre Company).
Her directing credits include Disney’s Camp Rock, Skank Sinatra, Between the Lines JR, Pursuing Pleasure, Spring Awakening, The Understudy, Carrie: The Musical, and Zoë’s Killer Instinct. She recently launched The OC Project, a Melbourne-based company delivering performance-based workshops for corporate and education settings, alongside directing and creative development for live performance.
Olivia returns to the Mischief family as Annie in The Play That Goes Wrong, having previously performed the role throughout Australia and New Zealand in 2015.
Jake Curran as Trevor
Trained at Drama Centre London, Jake Curran’s credits include: film roles in Clayface (2026), Over Your Dead Body (2026), The Owners (2020), Maze Runner: Death Cure (2018), Journey’s End (2018), Fury (2014), Robin Hood (2010), Wrong Turn 3 (2009), Stardust (2007), The New World(2005), and Oliver Twist (2005).
Television appearances in Harry Potter (2026), Robin Hood (2025), EastEnders (2022), The Confessions of Frannie Langton (2021), Gangs of London (2021), Spotless (2015), Whitechapel (2013), Murder on the Homefront (2013), Mayday (2013), Inspector Lewis (2012), Doctors (2011), Summer in Transylvania (2011), Waking the Dead (2011), Criminal Justice (2008), Primeval (2007), Casualty (2003, 2013), The Bill (1998, 2004), The Demon Headmaster (1996), and Grange Hill (1995).
Theatre work in The Play That Goes Wrong (2018, 2019), Christie in Love (2016), A Haunting (World Premiere, 2016), The Young Visitors(2016), Noonday Demons (2015), Fred and Madge (World Premiere, 2014), The Boy Who Cried (2014), and Diary of a Nobody (2014, 2015, 2017); and short films including Boom Chicks (2026), Lily’s House (2026), Lazar (2025), Egg (2025), Full Tank (2025), The Regent (2025), Thou Shalt Not See (2024), Undercurrents (2023), The Ceiling (2022) (Winner of Best Ensemble Award at The World Indie Film Awards), The Moth(2021), The Anchor (2011), Dirt (2011), and Ribbon (2010). Jake is also the writer/director of the films The Psychedelic Biker Killings and Twindrome.
Stuart Vincent, Understudy
Stuart Vincent is a British mixed-heritage actor and professional hip-hop dancer. His theatre credits include the West End production of The Play That Goes Wrong and the lead role of Amir in the UK and Ireland tour of The Kite Runner. On screen, he has appeared as Ross in the BBC soap opera EastEnders, Terry in the feature film When the Screaming Starts, and Cem in Good Luck, an award-winning short film written and directed by BAFTA Award-winning filmmaker Franz Böhm. Alongside his acting career, Stuart brings over 16 years of professional hip-hop dance experience, contributing to his dynamic physicality and commanding stage presence.
Tom Bulpett, Male Understudy
Tom trained at the Royal Central School of Speech and Drama. His theatre credits include The Grapes of Wrath (National Theatre), The Play That Goes Wrong (West End), Macbeth (Chichester Festival Theatre), The Importance of Being…Earnest? (UK Tour), The Burial at Thebes (RCSSD), Seahorse (Theatre 503), and Road (Warwick Arts Centre). His screen credits include Dept. Q (Netflix), Casualty (BBC), The Mummy (Universal Pictures), Quiz (ITV), and Father Brown (BBC).
Stephanie Astrid, Female Understudy
A Green Room Award-winning performer, most recently known for playing Sandra in The Play That Goes Wrong. Her theatre credits include Viola in Twelfth Night (Melbourne Shakespeare Company), Queen Angelica in The Grinning Man, Miss Thorn in Ruthless!, Pam in 50 Shades!, Joyce Byers in Stranger Sings, Genevieve Gryffindor in Voldemort and the Teenage Hogwarts, and Stephanie Necrophorous in NINE. She has also performed in the Australian premiere of Midnight: The Cinderella Musical and Disney’s My Son Pinocchio.
Her voiceover credits include Trudie Poodle in The Underdogs podcast and S.A.M.A.N.T.H.A in Busy Bodies with Mr Snotbottom, winner of Best Kid’s Podcast at the 2023 Australian Podcast Awards. She is represented by Ian White Management.
Hannah Sharkey, Director
Hannah trained at The Royal Central School of Speech and Drama and was one of twelve directors selected for Stonecrabs’ Emerging Directors Programme in 2014, where she was marked “One to Watch.” She is currently Director of Mind Mangler: Member of the Tragic Circle for Virgin Voyages, having previously directed the West End, Off-Broadway, UK tour, and Edinburgh productions.
Hannah was previously Associate Director on Magic Goes Wrong in the West End and Resident Director on the West End production of The Play That Goes Wrong, as well as Director of the Portuguese and Mexican replica productions.
Other directing credits include Cinderella (Theatre Royal Bath/UK Productions), Nomad (The Soho Theatre Young Company at Edinburgh Fringe), Storms (The Vaults), and Low Level Panic (The Albany Theatre).
Gripping and so unbelievably relevant today, Caryl Churchill’s play A Number tackles the emotional and moral ramifications of cloning. First produced in 2002, the play’s exploration of its theme hits very strongly to this day of advanced technology and generative AI, as it ask the hard questions of how far technology should be used when facing the harsh challenges of life.
This production marks the directorial debut of actor JC Santos, who also stars as three distinct characters in the play – three clones acting opposite Bart Guingona, playing the clone’s father. It’s a short play, spanning just a little over an hour, the tight narrative unfolds across five confrontation scenes between father and his offspring or a variation of such. Despite its sci-fi foundation, the play focuses on the heavy emotional weight of the effects of society towards the individual and to society. It is a heavy drama that requires the both actors to be wholly present at all times, with Santos having to change characters right before our eyes. It is a demanding piece for its actors and the players do an excellent job at it.
A Number by Caryl Churchill | Image courtesy of WHYNoT
The play opens with a son narrating his experience to his father of seeing his exact duplicate in public. They realise clones of him have been made, their conversation explores the effect of such a discovery on one’s identity. But as the story unfolds, we discover there are secrets that have been kept, dark secrets but with good intentions – if not twisted – behind them. With each encounter between the father and different variations of his son, he must reconcile his own actions, while the clones struggle to define the meaning in their existence when the question of their uniqueness is at stake.
A Number by Caryl Churchill | Photo by Miguel Uy, Courtesy of WHYNoT
As a British play, there’s a sense of formality in the language, but Churchill writes characters who are not the most eloquent or articulate of people. They are so overwhelmed by the events and the discovery of the dramatic situation that they often can’t finish their lines. It is a constant back-and-forth between father and son as they try to piece some level of rationality to their reality, and it’s very grounded and real in the way it captures that human experience. As actors, Santos and Guingona have to embody the confusion and the maelstrom of feelings this situation creates, throwing lines back and forth without missing a beat. It’s a terrific display of each performer’s acting prowess, with Santos having shifting from one clone to the next right on stage, bathed in light with only a slight costume change and an adjustment of his hair. His gait, his posture, and his line delivery all shift seamlessly. It’s a standout performance.
A Number by Caryl Churchill | Image courtesy of WHYNoT
The stage is set at the center – a theater in the round – with the audience watching from all sides. The venue, the artist space WhyNot in Karrivin Plaza, has good acoustics, so neither performer uses a mic, keeping the show intimate and personal. The stage is bare except for two sets of very short glass corridors, which either character uses as an entrance and where Santos makes his costume changes. Cushioned blocks at the center serve as chairs, and at the ceiling, shedding light into the confrontations are LCD screens with an abstract display, to which I imagined as strands of DNA, which I was later able to confirm. There is a drone scoring – I was told it was designed live by sound artist Frankie Lalunio – amplifies the emotions as Santos seems to have directed the performances at a lower register, choosing to let the situation and the words display all the emotions. Everything is kept bubbling inside, not playing for the drama. It’s the sound design that helps cue us there.
A Number by Caryl Churchill | Image courtesy of WHYNoT
With its minimalist approach, the play highlights all the confusion and existential questions that the narrative evokes. The question of how far we will go in using technology to make our lives “better” (quotation marks are necessary) becomes all the more biting as we see the dangerous effects of generative AI and social media on our society today. It’s a smart play. It’s a painful one. And it forces us to think, and hopefully, encourages us to act.
My Rating: 4.5 Stars
Presented by WHYNoT and The Necessary Theatre, A Number marks a compelling reunion for Bart Guingona and JC Santos following their sold-out 2023 hit Red, this time with Santos stepping into the director’s chair. The limited nine-show run plays from October 9–18, 2026 with performances at 3:00 PM and 8:00 PM at WHYNoT. Don’t miss this gripping sci-fi drama. Book your seats now at Ticket2Me.
Porvenir, in partnership with ArtDirected, brings its Filipino adaptation of Tennessee Williams’ Summer and Smoke to Art Directed Studio, located at the Upper Level of Circuit Lane, next to Blackbox Theater, Ayala Malls Circuit, Makati, for eight performances on October 24–25 and 30–31, 2026.
The Circuit Makati engagement marks a new chapter for the production as it moves into a larger, 100-seat space and welcomes a new audience in Makati.
Rather than simply transferring the original staging, the company will reimagine EL FUEGO DEL ALMA for Art Directed Studio, responding to the architecture and possibilities of its new home while retaining the intimacy that defined its original run.
The production will reunite its original cast for the Circuit Makati engagement. While the staging will be adapted to the new venue, audiences can expect the same ensemble of performers who brought the characters and their stories to life during the production’s previous run.
“This invitation gives us the opportunity to discover the production again,” says director and dramaturg Mark Mirando. “EL FUEGO DEL ALMA was created in close proximity to its audience, so bringing it into a new space means asking new questions about how the audience encounters the story. More than extending the run, we want this version to belong specifically to Circuit Makati.”
Translated into Filipino by award-winning playwright Eljay Castro Deldoc and directed by Mirando, EL FUEGO DEL ALMA reimagines Tennessee Williams’ Summer and Smoke for Filipino audiences.
At the heart of the play is a struggle between the spiritual and the physical, between desire and restraint, and between the lives people are expected to lead and the lives they secretly long for.
The ARTober performances will also serve as a benefit run for Porvenir. Proceeds from the engagement will support the company’s plans to bring its work beyond Metro Manila through a regional tour.
“For us, reaching a larger audience also means looking beyond Manila,” Mirando adds. “We want this run to help us take the next step toward bringing the production to audiences in other parts of the country.”
EL FUEGO DEL ALMA runs at Art Directed Studio, Upper Level, Circuit Lane (next to Blackbox Theater), Ayala Malls Circuit, Makati.
SHOW SCHEDULE
October 24, Saturday – 3:00 PM and 7:00 PM October 25, Sunday – 3:00 PM and 7:00 PM October 30, Friday – 7:00 PM October 31, Saturday – 1:00 PM, 3:00 PM, and 7:00 PM
TICKET INFORMATION
Early Bird tickets are priced at ₱1,000, while regular tickets are ₱1,250.
Tickets: https://tinyurl.com/EFDACircuit
EL FUEGO DEL ALMA is presented by Porvenir in partnership with ArtDirected, as part of Circuit Makati’s ARTober celebration, with Circuit Makati, ARTober, Art Directed, and Ayala Malls Circuit as event partners.
It seems fitting that Jojo Urquico’s brand new play, “Last Dance – Hubo’t Hubad,” would run at a club in Poblacion. Halxyon Club in Poblacion, Makati transforms into a theater with a stage in thrust format for this story about male go-go dancers at a drag club. When a raid stops the show right as it begins, five male dancers share their stories with the newest member of the team. Halxyon Club gives an authentic sense of realism to the setting, though it is suggested to come prepared and wear something warm as the air conditioning is really cold and to get a seat near the front as the seats are monoblocs and you might not see what’s happening on stage if taller audience are sitting in front of you.
Last Dance – Hubo’t Hubad | Image Source: Halxyon Club FB Page
And while the play opens with a drag performance, Fewsha Umb and Lexi Era perform in amazing outfits, the five actors takes the stage: Gerald Magallanes as Ace, Paolo Domingo as Jay, John Segui as Dodong, Kriszan Manipon as Mark, and Robbie Padilla as Rafa (with alternates Ysmael Suarez for Dodong and Lance Cabradilla for Ace). They deliver a striptease and provocative dance in Greek-inspired togas, later shedding them for nothing but black briefs and harnesses. When the raid happens, the men rush to their dressing room, where Mama Lou (played by Jem-jem Ria Lopez) assures them that it was a false alarm, though it would be prudent to close for the night.
Last Dance – Hubo’t Hubad | Photos courtesy of the JAPSCollectives Photo Team
Left with nothing to do, the men begin to dress while questioning Jay, the youngest and newest member of the group.
Running approximately 90 minutes, the play takes “baring it all” to the next level. While catching their breath, the five actors are practically naked, with only their briefs keeping them from full nudity. But it is the stories they share that renders them vulnerable. The advice and insights woven into their individual stories expose each character naked in an emotional way. Every story paints a picture of desperate need, revealing this job as the only way out for these characters.
Throughout their sharing, they truly bare it all, dressing down and then going into casual clothes. The night on stage is over, but for some of these characters, it has just begun.
Of the cast, Magallanes is the only one with solid theatrical experience, and it shows. There’s a natural delivery of Ace’s rough and prickly exterior. His story is one of abandonment and a tough armor, one that is gruff and grim, serving as a safety mechanism. Yet Magallanes also subtly reveals Ace’s softer side in quiet moments. While others are deliver their stories, his expressions betray his character’s empathy. While others are doing their monologues, he’s still in character, reacting, keeping busy. He’s making it all feel real along with Manipon, whose portrayal of Mark has a job, but it isn’t enough to pay the bills and so he does this to provide for his family. There’s a sincerity to his portrayal that works well alongside Magallanes’.
Last Dance – Hubo’t Hubad | Photos courtesy of the JAPSCollectives Photo Team
The rest of the ensemble is still finding its balance. Domingo captures Jay’s exuberance and innocence, but his performance feels timed. It feels forcibly pushed out rather than coming from a genuine place. There’s an old school theater style emanating from his line delivery that feels off when matched with the others who take a more naturalistic approach. Segui and Padilla are hitting their cues, but Sequi often feels rehearsed, while Padilla still needs to work on projection. He’s in the moment but his voice and emotions fail to carry beyond the edge of the stage.
I thought it was quite clever, to have the characters begin practically unclothed, only to dress in front of the audience as they prepare to head home, while sharing their personal stories that leave them even more vulnerable than being naked. The play asks us to truly see them – not just their bodies, but their humanity. This marks Jojo Urquico’s first foray into playwriting, and it shows in places. Some of the stories could be further fleshed out, and the dialogue could be drawn out a little further so the characters can build to their emotional peaks gradually rather than abruptly. Yet there is a cleverness in the direction, evident in how seamlessly the stage transforms from a club into a dressing room in a quick blackout. The blocking within that tiny space, as the actors shift seats, move toward lockers to change while one actor delivers a monologue feels entirely organic and natural.
This is not a new story, but it is one that will continue to be told until we can fix the system so that no one has to do this out of desperation, or at the very least, until we can afford to give them dignity in the profession. After all, people do come to watch these kinds of shows. They are entertainers, and this is a profession. “Last Dance – Hubo’t Hubad” pulls back the curtain, revealing what lies behind the stage.
My Rating: 3 Stars
Five men. Five secrets. One last dance. Don’t miss Jojo Urquico’s Last Dance – Hubo’t Hubad as it transforms Halxyon Club in Poblacion, Makati into a stage for raw human vulnerability. The show runs through October 29, tickets available at Ticket2Me.
The Philippine Educational Theater Association is currently restaging “Mga Kuwento ni Lola Basyang at iba pa…” at the PETA Theater Center in New Manila, Quezon City, ahead of an extended run in February 2027 and a national tour.
Severino Reyes introduced Lola Basyang in Liwayway Magazine back in 1925. Over a century later, her famous rocking chair returns to the stage. First adapted for PETA by Christine Bellen in 2005, this revival is a lively, interactive response to a modern world dominated by short attention spans, algorithms, and artificial intelligence.
The lineup features two of Reyes’ classic tales adapted by Bellen, “Ang Prinsipeng Mahaba ang Ilong” (which touches on self-worth beyond physical appearance and standing up to bullying) and “Ang Binibining Tumalo sa Hari” (a story showing how wit and intellect can challenge arbitrary authority). Joining them is a third piece by PETA Artistic Director J-mee Katanyag entitled “Ang Bantay ng Huling Buwan.”
Katanyag introduces Uriel, a curious young girl living in a world filled with smartphones, vlogs, and constant online noise. When Uriel encounters Lola Basyang, ancient myth collides directly with digital culture, tackling media literacy, misinformation, fake news, and the mythic Bakunawa through a lens of critical thinking and community action.
“The children who first encountered PETA’s Lola Basyang in 2005 have grown up. Some may now be parents, teachers, artists, and storytellers themselves. The children encountering her today are growing up in a slightly different world, where stories arrive through screens, feeds, memes, videos, and algorithms,” Katanyag revealed.
For director Phil Noble, who helmed earlier iterations of the production, staging Lola Basyang for today’s young audience presents a distinct creative challenge. “Today’s children live in a world of vlogging, AI, TikTok, Facebook, Instagram, and so much more. They can create their own worlds with just a screen. This time, I want them to discover another kind of world – the world of live theatre. I want them to open themselves to other possibilities, to immerse themselves in the stories, and to become part of the magical world of Lola B,” he explained.
Noble’s team, including associate director and choreographer Gio Gahol, set designer Julio Garcia, costume designer Carlo Pagunaling, musical director Kabaitan Bautista, composer Noel Cabangon, and lighting designer Satya Edilo, has revitalized the production. The performance builds on fresh choreography, updated visual elements, and expanded musical arrangements crafted specifically to hold the attention of kids used to fast-paced digital media.
The production breaks down the distance between the stage and the seats. Lola Basyang directly speaks to the kids in the audience, asking questions and drawing them into key decisions throughout the show.
Maribel Legarda, director of the show’s mobile excerpt version with designers Boni Juan, Siglo, and Ian Torqueza, considered this direct audience participation as vital for development. “Reviving a classic does not mean reproducing it exactly as it was. Stories live because they are able to speak to changing generations. As PETA always does, we take the time to finesse certain elements so they can speak more meaningfully and responsibly to children and audiences today,” she shared.
As PETA approaches its 60th year, “Mga Kuwento ni Lola Basyang at iba pa…” proves that folklore is a live, dynamic space where generations can gather, question assumptions, and imagine new possibilities together.
Kiki Baento stars as Lola Basyang with CB Garrucho, Yhuan Gatbunton, Belle Mendoza, Leo Lapitan, Thor Ganchero, Nyla Festejo, Roi Calilong, Ayla Garcia, Mico Esquivel, and JC Sunto providing support as cast members. Yhuan Gatbunton, Ericka Peralejo, Carlon Matobato, James Pe Lim, and Icee Po are part of the excerpt cast.
For inquiries and bookings, contact King Joshua Nalupa via Viber at 09936436018 or email kingjoshuanalupa@petatheater.com.
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 manananggalin 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 questionsabout why he chose certain words over others in his translation. His use of the language isn’t justbeautiful 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.
At the Doreen Black Box Theater in Arete, Ateneo, the stage design for Lucy Prebble’s The Effect, as imagined by director Sarah Facuri and set designer D. Cortezano places the stage right at the center, completely surrounded by the audience. On the raised platform sit two chairs, tucked into opposite corners of each other. The moment I saw it, I thought of a boxing ring sans ropes. I knew nothing coming into this play, having missed the successful staged reading of CAST which was the reason it was mounted as a full production. But the armbands handed to us with our tickets were fashioned like the hospital identification tags, which already prompted us for what was to follow.
The Effect | Photos Courtesy of CAST PH by Myra Ho
The Effect follows Connie and Tristan, played by Sue Ramirez and Brian Sy, two volunteers who have joined a clinical trial for a new antidepressant. They have to stay in a facility throughout the experiment with no contact with the outside world. They are monitored by Dr. Lorna James (Cathy Azanza-Dy), who reports her findings to Dr. Toby Sealy (Dean Daniel Rosen). As the trial runs, Connie and Tristan begin developing feelings for each other, which threatens to compromise the findings and results of the experiment. And as Dr. Lorna is trying to keep the integrity of the process intact, her personal history with Dr. Toby gets in the way.
The Effect | Photos Courtesy of CAST PH by Ynah Garcia
The Effect is a very modern examination of mental health and human connection. It tries to reduce the concepts of love and attachment to a scientific process that the body undergoes but the play understands that the whole thing is much messier than that. The science sounds believable but that’s not important, it helps dissect the trouble that is brewing between the characters. We see each rule of the clinical trial being broken one rule at a time, Connie and Tristan getting more and more entangled romantically, but also questioning if this is really love or just a side effect of the new drug. Meanwhile, Dr. Lorna has her own issues that are highlighted by the juxtaposition of Dr. Toby’s own success in the scientific community, of which she feels may be unearned.
The Effect | Photos Courtesy of CAST PH by Myra Ho
Director Sarah Facuri keeps the play casual and energetic. Everything feels spontaneous as Facuri and her cast steadily build emotions, pushing towards the play’s rather unexpected finale. Through the use of lights (designed by Jethro Nibaten) to play out scenes of the experiments to create a sort of order and then blacking out the stage during Connie and Tristan’s intimate – and forbidden – encounters. We get the feeling that we are losing control, much like the characters feel like they are losing control of their own emotions or rationality. The effect is arresting.
The Effect | Photos Courtesy of CAST PH by Ynah Garcia
The cast is completely committed to the performances. Sue Ramirez’s Connie is a bundle of nerves, hiding anxiety behind a tough exterior that questions everything in order to have some measure of control. Brian Sy’s Tristan is the total opposite: carefree, reckless, and aimless, he takes action regardless of the consequence. The dynamic is electric on stage, and you never question that they are falling in love right in front of you, despite the possibility it is all a chemical reaction. Dean Daniel Rosen embodies the smugness of a successful man who believes he knows better than everyone else. But there’s a charm to him that makes you believe how he got to where he is.
The Effect | Photos Courtesy of CAST PH by Ynah Garcia
It is Cathy Azanza-Dy’s Dr. Lorna, however, who proves to be a true force of nature. In the first act, she is all business, more like a guide for Connie and Tristan, but there are aspects to her character’s dark side just rumbling beneath the surface. But come Act II, Azanza-Dy’s character has a moment and steals the show. She owns her pivotal moment with a monologue so effectively delivered, it turns the entire play upside down.
The Effect | Photos Courtesy of CAST PH by Myra Ho
Facuri does not tone down the play’s distinct British sensibilities, recognizing that the themes that are tackled in The Effect are deeply universal regardless of culture. It is a hard-hitting piece that can make you laugh and tickle your romantic bone before it hits you with the cold, hard truths in its second act.
My Rating: 4.5 Stars
And that’s a wrap! The Effect by Lucy Prebble officially closed its run at Areté, Ateneo tonight. Missed the show or want to keep up with CAST’s next production? Stay tuned for more theater reviews, coverage, and upcoming show announcements!
