Ticket pre-sale starts on November 21 at 12 NN, followed by the general on-sale on November 22 at 12 NN via www.InsigniaPresents.com. he Olivier Award-nominated Bluey’s Big Play: The Stage Show will be live at the Newport Performing Arts Theaterfrom July 31 to August 9, 2026.
Featuring brilliantly created puppets, this theatrical adaptation of the Emmy® award-winning children’s television series is packed with music, laughter, and fun for the whole family. Audiences of all ages will get to see Bluey, Bingo, Mum (Chilli) and Dad (Bandit) as they’ve never seen them before.
When Dad feels like a little bit of afternoon time out, Bluey and Bingo have other plans! Join them as they pull out all of the games and cleverness at their disposal to get Dad off that bean bag. With an original story by Bluey creator Joe Brumm, and music by Bluey composer, Joff Bush, this is Bluey – for real life.
“Bluey has quickly become a beloved part of family life in the Philippines, with fans embracing the series’ heartwarming stories and spirit of learning through play,” said Sophia Spinelli, VP of Brands and Marketing, BBC Studios Asia. “The response to the theatrical stage show from fans around the world has been nothing short of amazing and we’re absolutely delighted to have Manila as the second Asian stop in Bluey’s Big Play The Stage Showworld tour. We can’t wait for Filipino families to experience the world of Bluey and her family in a brand new way and live on stage in their city.”
Andrew Kay, Producer, HVK Productions said: “We are absolutely thrilled to bring Bluey’s Big Play to Manila! Sharing the magic of Bluey with families in the Philippines is incredibly exciting. The story, the music, and the humourof Bluey resonate with children and adults alike and we can’t wait to see the joy and laughter it brings to audiences there. Manila is such a vibrant city and we are looking forward to creating unforgettable memories for families together.”
Since premiering in Australia in 2020, Bluey’s Big PlayThe Stage Show has toured globally across the UK, Ireland, Canada, the US, Europe, Singapore, South Africa and the UAE and has been seen by millions of fans worldwide.
Bluey’s Big Play The Stage Show features original voices from the TV sensation, including the instantly recognizable voices of Melanie Zanetti as Mum and David McCormack as Dad. The larger-than-life puppets are commanded by a talented international cast. It is directed by Rosemary Myers of Windmill Theatre Company, and presented by BBC Studios and Andrew Kay in association with Windmill Theatre Co.
Since bursting onto TV screens in Australia in 2018, Bluey has enjoyed a plethora of critical success at home and abroad, most recently winning Best Children’s Program at the 2025 TV WEEK Logie Awards. Bluey has also won a 2022 BAFTA Children & Young People Award in the International category and picked up its sixth AACTA Best Children’s Program award, adding to its International Emmy.
A global-ratings hit, Bluey was the most-watched series globally on Disney+. In the Philippines, Bluey first premiered in 2020 and is available to watch on Disney+.
General ticket sales for the shows will open at 12:00PM (local time) on Saturday, November 22. For more information please visit www.InsigniaPresents.com.
I’m a fan of “Bar Boys: The Musical,” written by Pat Valera (book and lyrics) and Myke Salomon (lyrics and music), based on the film by Kip Oebanda, and directed by Mikko Angeles, since its two runs at the PowerMac Spotlight Theater in Circuit Makati. It was inspiring, funny, and poignant (I remember crying both times I saw it). The music was great filled with all-new, all-original songs, and the performances were stellar. It was a great show. But now that it has moved to the Hyundai Hall at the Areté Theater, the show has transformed into a big, bold musical where the larger scale amplifies everything that was already great about the production.
In a larger theater, the creative team went all out. The production now features larger set pieces that are wheeled in, a larger video projection on screen right behind the cast as they are performing, more space for its hardworking ensemble to fill, and new heights as the set pieces are as high as two stories allowing the staging to be as tall as its scope is wide.
Bar Boys The Musical | Photo by Kyle Venturillo
Now staged on a proscenium, the direction is now fully directed toward the audience rather than contained at the center, as it was in the original traverse staging (a long platform with the audience on both sides). This shift allows the show to fully project its idealism, realism, and inspirational message straight to the crowd for full effect.
Bar Boys The Musical | Photo by Sace Natividad
“Bar Boys: the Musical” tells the story of four friends – Erik, Chris, Torran, and Josh – who enter law school together with the hopes of changing the world a better place. But each of our leads have their own battles to face. Erik comes from a humble background and money is tight. Chris hides a secret about his background, which also fuels his need to make the world a better place. Torran, raised by a single mother, feels the pressure of living out his mother’s dreams while he is discovering who really is. Josh, who hails from the province, wants to be an environmental lawyer but his idealism gets in the way of the reality of the law.
Bar Boys The Musical
The show is impressive by being intersectional, tackling various issues like the class divide, the power and the abuse of the law, corruption, acceptance, and waking up to a harsh world; all of this without being scattered or confusing. The narrative has a spot for each of the four characters, a case that becomes the catalyst for the growth of some of the protagonists, all the while portraying the exacting demands of law school and passing the bar.
Bar Boys The Musical | Photo by CJ Ochoa
By giving the ensemble moments to portray other law students, we see the various dreams and hopes that people have that widen the scope of the play. There’s something for everyone here, but it never feels like it is only touching the surface. The emotions that it evokes are not from shallow, easy plot points. The struggle is real. There are scenes and songs that emphasize it so when a loss is felt, it hits hard. When a victory is achieved, that feeling reaches out to the audience in full.
Bar Boys The Musical | Photo by CJ Ochoa
With a larger space and the audience gathered in one direction, Angeles is able to create spectacles and meant to be witnessed. The actors can now interact more freely, exchanging knowing looks when making throwing politically charged jokes or when a scene feels like it is talking to the audience.
Bar Boys The Musical | Photo by Irvin Arenas
With the bigness of the theater, the tiniest and most intimate scenes – like the ones shared by Erik and his father or Justice Hernandez, the toughest but most important teacher the lead characters meet – become these powerful turning points that emphasize the narrative beats. In the smaller venue, we feel like voyeur peeking into private moments. On a proscenium stage, we feel permitted to watch allowing us to fully react and feel what these scenes evoke in us to feel.
Bar Boys The Musical | Photo by Irvin Arenas
Most of the cast from the previous runs have returned, and they wear these roles like a second skin. Alex Diaz, who plays Chris, has a confidence that defines his character, which also makes him a little forceful, leaning into domineering. Jerom Canlas, who plays Torran, is having more fun with the character, working with physicality and gestures to show how his character’s hidden nature is a lot more visible to everyone but himself. Josh is always a fan favourite and Omar Uddin has charm by the boatload and he uses this to fill the stage. Juliene Mendoza, who plays Erik’s father Peping, and Gimbey Dela Cruz, who plays a dual role of Torran’s mother and a lady who Josh befriends, are such solid performers that they help the show hit its most poignant moments.
Bar Boys The Musical | Photo by CJ Ochoa
But the two who truly rise to the new scale of this production are Benedix Ramos as Erik and Sheila Francisco as Justice Hernandez. Ramos manages to layer his portrayal of Erik in such a way that even his moments of weakness are felt even when he’s keeping it inside. He vascillates from big emotions to small emotions and all of it are picked up on stage that he has the most dynamic of performances. He has such a gift that allows him to work small but can project it big so that its seen and heard and felt all the way to the back of the audience.
Bar Boys The Musical | Photo by Kevin Sembrano
Francisco, on the other hand, who has played Justice Hernandez as a wise, older mentor, with a calm energy, now plays her as a rockstar in field of law. She’s brazzy, she’s tough, she’s admired, and she knows it. She comes in like a force of nature and embodies the reason why every character in the play is so in awe of her.
Bar Boys The Musical | Photo by Myra Ho
So, it’s equally amazing when, in the more somber moments, she becomes a nurturing, tender soul that can inspire the lead characters in their darkest moments. It’s a powerhouse performance that shows, Francisco has been holding it back in the smaller venue in fear of tearing it down with her power.
Bar Boys The Musical | Photo by Kyle Venturillo
On opening day, there were a few technical hiccups, and the new ensemble still needed to tighten their choreography and to temper their boundless energy. But these are easily fixed that will naturally smooth out with more performances. Even with these little flaws, the show is already such a triumph of theater. This is how “Bar Boys: The Musical” should be: big and bold. It’s an inspiring play that’s fun and moving and it truly deserves a venue grand enough and a production that can amplify its message to an even larger audience.
My Rating:
Catch Bar Boys The Musical in all its bold, inspiring glory as it takes over Hyundai Hall, Areté until November 23. With powerful performances, unforgettable songs, and moments that hit right in the heart, this larger-than-life production shines brighter than ever. Don’t miss it! Grab your tickets now via Ticket2Me.
One of the world’s most influential rock operas is coming to the Philippines. The Olivier Award-winning production of Jesus Christ Superstar is set to make its Manila debut at The Theatre at Solaire from May 2 to 24, 2026, as part of its international tour. Tickets go on sale November 8 exclusively via TicketWorld. UnionBank cardholders can access the pre-sale from November 3 to 7.
A Bold Reimagining of A Global Classic
With music and lyrics by Emmy, GRAMMY, Oscar, and Tony winners Andrew Lloyd Webber and Tim Rice, Jesus Christ Superstar has remained a cultural touchstone for more than 50 years This production was reimagined by London’s Regent’s Park Open Air Theatre, where it originated, and is helmed by director Timothy Sheader and choreographer Drew McOnie. Completing the creative team is design by Tom Scutt, lighting design by Lee Curran, sound design by Nick Lidster, and music supervision by Tom Deering.
A global phenomenon that has wowed audiences for decades, JESUS CHRIST SUPERSTAR is a timeless work that explores the biblical portrayal of the extraordinary events that led to the death and resurrection of Jesus Christ as seen through the eyes of his betrayer, Judas Iscariot. The story, told entirely through song, explores the personal relationships and struggles among Jesus, Judas, Mary Magdalene, Jesus’ disciples, his followers, and the Roman Empire. Originally released as a concept album, the iconic 1970s rock score contains such well-known numbers as ‘Superstar’, ‘I Don’t Know How to Love Him’, and ‘Gethsemane’.
Jesus Christ Superstar The North American Tour company of Jesus Christ Superstar. Photo by Evan Zimmerman for MurphyMade
JESUS CHRIST SUPERSTAR opened on Broadway in 1971 at the Mark Hellinger Theatre. The original London production opened at the Palace Theatre on 9 August 1972 and ran for over eight years. By the time it closed, after 3,358 performances, it had become the longest-running musical in West End history at that time. JESUS CHRIST SUPERSTAR has been reproduced regularly around the world in the years since its first appearance, with performances including a Broadway revival in 2012, an ITV competition TV show called Superstar that led to casting Ben Forster as Jesus in an arena tour of the show, and a production at the Regent’s Park Open Air Theatre celebrating 45 years since the musical’s Broadway debut.
Producer David Ian said, “After incredible success in Australia and the UK, we’re delighted to be bringing Jesus Christ Superstar to Manila. This Olivier Award-winning production has amazed audiences around the world with its raw energy and breathtaking performances. Whether you’ve loved the show for decades or are discovering it for the first time, this will be an unforgettable experience.”
Carlos Candal, CEO of GMG Productions, said: “We’re beyond thrilled to bring one of Andrew Lloyd Webber’s most iconic and influential musicals of all time to Manila. Jesus Christ Superstar is a show that transcends generations. Its music and story continue to inspire audiences, and we can’t wait for Filipino fans to experience this powerful production live.
This production of JESUS CHRIST SUPERSTAR won the 2017 Olivier Award for Best Musical Revival and the 2016 Evening Standard Award for Best Musical, selling out two consecutive engagements in 2016 and 2017. The production played a West End engagement at the Barbican in 2019 before returning to Regent’s Park Open Air Theatre in concert version during the summer of 2020, followed by a universally acclaimed UK tour in 2023/24.
Casting will be announced soon.
Tickets and Pre-sale Access
Jesus Christ Superstar runs May 2–24, 2026 at The Theatre at Solaire. The pre-sale period runs from November 3 to 7. The Manila season will run from May 2 to 24, 2026, at the Theatre at Solaire. Tickets will officially go on sale on November 8 exclusively via TicketWorld. Theatre fans can also enjoy early access through UnionBank of the Philippines, GMG Productions’ official 2025 season bank sponsor and pre-sale partner or join the GMG JESUS CHRIST SUPERSTAR waitlist at www.gmg-productions.com.
About the Production
The 2026 international tour of Jesus Christ Superstar is produced by GMG Productions and David Ian for Crossroads Live and Work Light Productions. The original staging was developed at London’s Regent’s Park Open Air Theatre, where the revival first gained widespread acclaim.
Stay updated on upcoming productions by visiting www.gmg-productions.com or following @gmg.productions on social media. For additional information about this production, please visit www.jesuschristsuperstar.com
With its pioneering rock score, emotional storytelling, and award-winning reimagining, Jesus Christ Superstar has shaped modern musical theatre for more than five decades. Fans across generations continue to discover and celebrate its music, making this Manila engagement one of the most awaited theater events of 2026. Whether you’re a lifelong fan or curious first-timer, this staging promises striking performances and a powerful theatrical experience. Mark your calendars for November 8 and prepare to welcome this global classic to Manila.
While the premise of ‘3 Upuan’ is relatively simple, three siblings reunite at their father’s deathbed in a hospital, and as they reconnect, their lives begin to unfurl. But what is incredible about the play, written and directed by Guelan Verela-Luarca is that the unfurling spans the vast expanse of time and really goes deep into the existential questions the characters must face when one is confronted by how brief life can be. It doesn’t help that the three characters are intelligent, articulate individuals, children of college professors. The eldest, Jers, is a professor himself; Jack is an artist; and Jai, the youngest, is a journalist. When faced with their mortality – and the mortality of their loved ones – they dodge and evade the hard conversations before they get deep into it, and then would sometimes go into a soliloquy, trying to grasp the abstract nature of death and grief out loud for the audience to hear.
Sc. : Scene Change 3 Upuan
This is the fourth staging of the play in just a year, first performed last September in the dressing room of Hyundai Hall of Areté, followed by another run in February also at Arete, and then in August at Archivo 1984 in Makati. For this Sc. : Scene Change production, it is held once again at the Areté, but at the museum lobby, surrounded by an exhibition of kite paintings.
There’s only about 50 chairs set on a space formed as a thrust stage, with the three actors seated on three chairs before a large projector screen. And the intimacy of the setup places the audience front and center in an immense exploration of philosophy, language, time, and grief.
With the audience seated so close, and only three chairs and a video projection as props, the three actors have nowhere to hide. The play runs for roughly 100 minutes without intermission so it’s you and them and the journey they take you through these characters’ inner world and their wealth of emotions on this very challenging time. But Paolo O’Hara as Jers, Jasmine Curtis-Smith as Jai, and Cris Pasturan as Jack are more than capable of taking on that challenge.
While each actor in their own right brings to life all the nuances and layers of their characters, what’s incredible is how believable and tangible their relationship is as siblings. There’s a shorthand in their gestures and their subtle chuckles that indicate a shared history, an ongoing dynamic that really sells the story to the audience. As they face the impending passing of their father, and later, deal with the aftermath of that loss and all that it entails, what remains is the love between the siblings that needs to process that pain.
Complicating all of this is the fact that Jai lives abroad. She returns home to find Jack unable to paint again, no longer able to afford his child support payments for his daughter, and has strained his relationship with his Kuya Jers. Jai has her own life in New York that appears to be crumbling and, interspersed are Jers’ lectures in class about language, philosophy, and anthropology.
From here, the work goes further than the story of the siblings, memory, philosophy, and language breaks the barriers of time that allows Jai and other characters to breach the metaphysical and allows us a peek into the siblings’ past, present, and future through soliloquy, a changing of the arrangements of chairs, and a gorgeous video projection.
Of the many amazing works by Guelan Varela-Luarca, 3 Upon stands out as my favourite – both in writing and direction – and the heaviness of the play’s narrative is matched by the intellectual density of its themes and scope that he manages to make comprehensible by framing it into the dynamic of these three characters. The intimacy, the song choices, the sparseness of the staging, and the way the actors have been primed to really act and feel like a family allows us to take all of what Varela-Luarca offers in the writing and allows us to chew on it. This is a triumph of theater. ‘3 Upuan’ captures the dense existential ruminations of three people in the face of their mortality and makes it an emotional journey without the need for spectacle. It’s performed wonderfully and I was tears through the last half of the show.
The theatrical adaptation of the Gian Abrahan film ‘Dagitab’ is a gorgeous work of theater. It’s a vivid and vibrant exploration of a marriage untethering and of youthful desire violently taking form. Adapted and directed by Guelan Varela-Luarca, the play makes full use of its space and the sparse (but striking) stage design by D Cortezano and the versatility and power of its cast. You are at the edge of your seat the entire time as these lives are unfurling before your eyes and its breathtaking to watch.
The story revolves around a married couple, Issey and Jimmy, who are sort of rockstar professors in UP. Issey teaches writing classes and a renowned poet while Jimmy is an anthropologist, working on a new book. There’s love there between them, obviously, but when the play begins, we are seeing the tear in the relationship in the way they converse and argue. Issey is leaving for a workshop while Jimmy is out to explore a mountain looking for a “sundang,” a mythical blade from his research and a sore spot for Issey.
Scene from ‘Dagitab.’ Photo by IR Arenas (@irarenas)
In the writing workshop, Issey gets close to her 17-year old godson, Gab, who is a freshman in UP and a promising nonfiction writer. Soon, Gab falls for Issey and makes a move, which Issey tries to resist but her strained relationship with Jimmy becomes her excuse to give in. Complicating things further is Gab’s roommate at the workshop, Angelo, who is an older student and a “workshop veteran,” who falls for Gab.
Scene from ‘Dagitab.’ Photo by IR Arenas (@irarenas)
What’s amazing about the play is how clear each character’s motivations are: how the script maximizes its 2 hour and 20 minute runtime for us to really see the struggles of each character as the actions they take are much more complicated than what they appear. As the narrative unfolds, Jimmy’s trek to the mountains is an attempt for closure of a personal matter of which Issey is aware of. This affects Issey’s own self-worth which manifests in the way she deals with Gab. For Gab, there’s a conflation between his physical attraction to his godmother and his own ambitions to be a writer of worth, which is mirrored by Issey’s own stature. Angelo plays counterpoint, someone who is aware of the boundaries and is careful on how to breach it, unlike the other three.
Scene from ‘Dagitab.’ Photo by IR Arenas (@irarenas)
Valera-Luarca makes full use of Cortezano’s minimalist design. On stage, there’s only two tables and three stools but these become a car, rock formations in a forest path, a bar, the home of Issey and Jimmy, and bedroom shared by Gab and Angelo at the workshop. Off stage, there’s a huge tree and a mound made of paper, which correlates to Jimmy’s own journey into the mountains, and it has its own special moment.
Scene from ‘Dagitab.’ Photo by IR Arenas (@irarenas)
The actors come to move the stools and tables to establish the scene, but it also mirrors the interior world of the characters. At the start of the play, the tables are filled with paper. As the story progresses, the paper starts to fall off and fill the floor, symbolic of how messy things are getting. All of this is further enhanced by the lighting design of Jethro Nibaten. With barely anything on stage, the light changes help clarify the scene changes.
Scene from ‘Dagitab.’ Photo by IR Arenas (@irarenas)
But the space is further enhanced by Varela-Luarca’s direction allowing multiple characters on stage at any one time. When Issey is talking to Gab about her husband, Jimmy is on stage as well, acting out her story. If Issey and Gab have a fight, he storms off and sulks in a corner, while Issey and Jimmy act out the next scene while Gab is huddled in one corner, lost in his thoughts. It gives the impression that the imagined and the real are existing side-by-side and even if people are not present in the scene, their presence are there, just in the background occupying space. The mess these characters get themselves in keeps them always in mind.
Scene from ‘Dagitab.’ Photo by IR Arenas (@irarenas)
And these characters are brought to life by a brilliant cast. Benedix Ramos is striking as Angelo. The way he hovers around Gab betrays his vulnerability despite his tough exterior as a “workshop veteran.” Angelo uses physical proximity to lure Gab in, and Ramos never plays it aggressively. He’s subtle. It’s quite enjoyable to watch. Jojit Lorenzo is always reliable, and you can see this in his portrayal of Jimmy. He’s a man living in two worlds, one with Issey and another in his past. He declares his love for his wife but there’s something in the back of his voice that betrays his inability to move on. It’s quite thrilling to see. Elijah Canlas is revelation on stage as he plays Gab. I’ve seen him in many movies and he’s such a chameleon. He transforms once again and manages to infuse Gab with the unrestrained passion of a 17-year-old. He’s naive and full of energy and you almost forget that he’s not 17.
Scene from ‘Dagitab.’ Photo by IR Arenas (@irarenas)
But this play becomes a showcase of Agot Isidro’s boundless talent. As Issey, she’s a force of nature. She fills up that stage with Issey’s verve and power. She loses herself dancing in one scene and then transitions to the next scene where’s suffering a hangover and it’s really there for you to see. Despite Issey’s strong personality, Isidro manages to let slip her vulnerable side too, one that Issey thinks she’s hiding but Isidro lets out in a gesture, a look, an inflection of her line delivery. This is some of the best work I’ve seen from her.
Scene from ‘Dagitab.’ Photo by IR Arenas (@irarenas)
While the sound design by Carlos Hombrebueno creates an interesting soundscape that highlights the mood, my issues about the sound in the PowerMac Spotlight Black Box theater is still present. Sometimes the mics lose their volume, sometimes you’ll hear static. Oftentimes the musical score is louder than the actors. But it’s negligible and the actors power through.
Scene from ‘Dagitab.’ Photo by IR Arenas (@irarenas)
‘Dagitab’ is just an incredible theatrical experience that also hits close to home as someone who has been to some of these writing workshops. The characters are familiar to me, and these stories are stories I’ve heard before. And how it comes to life on stage is such an enjoyable experience. People around me were crying, I was gasping and reacting strongly at every powerful line delivered. This is truly great theater.
I knew nothing about the show coming into the Solaire Theatre on press night for ‘Dear Evan Hansen.’ I knew that it was a popular musical – it won six of the nine Tony Awards it was nominated for, including Best Musical and Best Score, and was later adapted into a film – and that Benj Pasek and Justin Paul, who wrote the music and lyrics, are well-loved songwriters having written the songs of ‘La La Land,’ ‘The Greatest Showman,’ and a Broadway musical that I love, ‘Dogfight.’ I was expecting a great show, due to this popularity and how it’s the “favourite musical” of my close friends. What I was not expecting was to be pulled in two very different emotional directions.
Photo by Marc Brenner
First off, as a show, ‘Dear Evan Hansen’ was quite strong. The set design by Morgan Large along with the video direction and design by Large and Ravi Deepres, really created such powerful images, quickly transforming the stage from bedroom to school hallway complete with lockers, to a kitchen or a living room. The sets just swipe in and it’s quite a feat to watch. The stage is practically empty except for when the different set ups just rush in to complete the scene while the video wall in the back can heighten a song by creating a dazzling display that highlights the context of the scene. It’s so brilliantly put-together that it was doing exactly what it should without overwhelming a scene. The cast was quite strong, especially Ellis Kirk, who played the titular role of Evan Hansen, and Rebecca McKinnis, who plays Evan’s mom, Heidi. Both Kirk and McKinnis really brought the play to the emotional level it needed to go to and they were the cast’s strongest singers to boot.
Photo by Marc Brenner
The direction by Adam Penford allowed the show to shift and slide off to its comedic moments but can throw itself into its much darker themes when it has to. The cast do quite a good job at playing high school kids, though Tom Dickerson just looked like a mature man to effectively sell the character of Jared, Evan Hansen’s neighbour and only confidant. He did as best as he could to try and portray a teen but his height, body frame, and looks just went counter the imagery that I couldn’t suspend my disbelief. I had no trouble with the others, most especially with Kirk and Zoe Athena, who plays Zoe Murphy, Evan Hansen’s crush in school.
Photo by Marc Brenner
The songs of Pasek and Paul are so good that you can understand why the musical won a Tony, and it’s an overall good production. What shocked me, though, was halfway through the first act, I started to feel very uncomfortable with where the show was going narratively. The book by Steven Levenson details the story of an anxious high school senior who is tasked by his therapist to write letters to himself every day to help with his anxiety, hence the name of the play. After an encounter with Connor, the school bully, one of Evan’s letters gets mistaken for having been written by Connor and Evan begins to lie to try and become part of a larger narrative. Connor happens to be Zoe’s brother, Zoe being Evan’s crush in high school. The suicide shocks the whole campus, and it is even more shocking to discover that Connor had a friend and it’s the socially awkward outsider, Evan Hansen.
Photo by Marc Brenner
What makes the show so uncomfortable is how far Evan takes this lie and how much bigger the misunderstanding grows. It gets so big that, at some point, it becomes harder and harder to imagine how the story can properly position Evan into a place where he can be forgiven for what he’s done. Lives are changed, perceptions are altered, and even a movement begins, and it’s all based on a lie from one socially awkward young man with a serious mental condition who just wanted to belong.
Photo by Marc Brenner
The play never actually manages to properly give any sort of justice to the characters of the story. The way it handles all the deception was so uncomfortable to me that, no matter how powerful McKinnis sings her song near the end of Act II (‘So Big So Small,’) as she cradles her son when he finally tells the truth to her (after he does such a horrid thing to her as well) I found myself so incapable of connecting. People around me were sobbing as Evan sings his regret (‘Words Fail’) in a powerful ballad but nobody is there to hear him. It’s a soliloquy but it does not equate to asking for forgiveness. Not in any way that is meaningful to the ones who were hurt.
And I sit in my seat, amazed at how Kirk manages to keep me invested in his performance despite my inability to connect with the character he plays; this role would kill a lesser actor. Instead, I think about the women of the show – Zoe, who was terrorized by her brother when he was alive, Connor’s mom, and Evans’ mom – who all have to suffer from Evan’s deceit, yet must somehow forgive him because he’s broken and not let him face the full consequence of his actions.
I sit there wondering how to feel. The performances were great. That stage design and the video wall made so much theater magic with something so simple. And yet, I just couldn’t bring myself to empathize with story. A lot of people did, though, but I felt like justice was denied and that it wasn’t fair. I didn’t want to applaud that, no matter how good the production was.
Fresh from the success of Into the Woods, Theatre Group Asia (TGA) brings another Broadway landmark to local audiences with A Chorus Line*, celebrating its 50th anniversary this year. Tickets sales roll out starting September 15-17 for BPI card holders, TGA early sign-ups on September 18, and to the general public September 19 via Ticket World.
A landmark in American musical theatre and celebrating its 50th Anniversary this year, A Chorus Line revolutionized Broadway by spotlighting the lives of ensemble dancers—the unsung heroes of every musical. As it follows 17 hopefuls vying for eight spots, it becomes an ode to ambition, sacrifice, and individuality. TGA is bringing this story to life with an all-Filipino cast, celebrating the global talent and cultural depth of the Philippines.TGA’s Overall Artistic and Creative Director, Tony Award-winner Clint Ramos, shares, “This local production of A Chorus Line will honor the iconic legacy of its original 1975 premiere while breathing new life into its message for a new generation.” The musical is notable for its stripped-down set, iconic choreography, and intensely personal monologues that explore identity, perseverance, and the often invisible cost of chasing a dream. It remains one of the few musicals to ever win the 1976 Pulitzer Prize for Drama aside from winning the Tony Awards for Best Musical, Best Book of A Musical (James Kirkwood), Best Original Score (Marvin Hamlisch and Edward Kleban), Best Director (Michael Bennett), and Best Choreography (Michael Bennett and Bob Avian) that same year.
As it celebrates its golden year, this enduring production continues to inspire anyone who’s ever dared to chase a dream. Beloved songs include “One [Singular Sensation],” “What I Did For Love,” “I Can Do That,” “I Hope I Get It,” and “The Music and the Mirror.” A film adaptation was released in 1985, directed by Richard Attenborough and starring Michael Douglas.
New York-based Emmy Award-winning Karla Puno Garcia who is set to direct and choreograph the musical shares, “This production is as much about discovering raw, beautiful talent as it is about telling a story.” The celebrated respected Fil-Am artist and dance educator expounds, “I’ve lived this story. I’ve been the dancer hoping to be seen, fighting to be chosen, giving everything to the moment. Now, I get to turn that experience into an opportunity for others.”
Puno Garcia promises a production that remains faithful to the original material while making it resonate with a younger set of Filipino theatergoers, “I’ve been in conversation with Baayork Lee, who embodies the spirit of the original production. Once we complete the casting, we’ll breathe new life into the material while staying true to the original show’s hallmarks. I’m especially excited to explore the characters with the all-Filipino cast we’re forming. I want to hear their stories and how they connect with the roles they’re portraying. I can’t wait to be inspired by their perspectives and find a way to use our combined experiences to organically create something that translates into today.”
Puno Garcia collaborates with TGA Executive Director and former internationally acclaimed danseur Christopher Mohnani, Associate Choreographer JM Cabling, and a host of Filipino talents driven to make this staging in the words of the musical, “One singular sensation!”
Tickets are available through Ticket World premiere.ticketworld.com.ph. Ticket pricesstart from PHP900 to PHP5,500. A Chorus Line will run from March 12-29, 2026. Thursday and Friday shows are at 7:30 p.m. Two shows are staged on Saturdays and Sundays at 2 p.m. and 7:30 p.m.
Due to the overwhelming response from the Filipino audience, GMG Productionsannounced today the final extension of the critically acclaimed, Tony Award-winning musical Dear Evan Hansen in Manila. The production will now run from September 4 toOctober 5,2025, at The Theatre at Solaire.
GMG Productions’ CEO Carlos Candal shared, “Bringing Dear Evan Hansen to Manila has been a long-awaited moment, and the response has been everything we hoped for and more. We’re happy to announce this final extension so even more audiences can experience theimpact of this production.”
Dear Evan Hansen tells the story of Evan, an anxious high school student longing for a sense of belonging. When a misunderstanding spirals into something far bigger than he ever imagined, he faces an impossible decision: tell the truth and lose everything or embrace a lie that brings him closer to the life he has always dreamed of. As the story unfolds, Evan navigates the complexities of truth, connection, and self acceptance in a world that often feels isolating.
The UK touring production of Dear Evan Hansen is produced by ATG Productions, Gavin Kalin Productions, and Nottingham Playhouse. Featuring music by the Emmy, Grammy, Tony, and Oscar-winning duo Benj Pasek and Justin Paul and a book by Steven Levenson, Dear EvanHansen has been recognized as one of the most impactful musicals of the past decade. It has won four Tony Awards, including Best Musical, the Olivier Award for Best New Musical, and the Grammy Award for Best Musical Theatre Album.
Director Adam Penford also shares, “Dear Evan Hansen has thrilled audiences on both sides ofthe Atlantic since it first premiered in 2016. Evan’s powerful story grips and moves people toldthrough a captivating script and musical score. This exciting UK and International tourproduction offers the opportunity to reexamine some of its contemporary themes and presentthis brand-new version to more people.“
Be Part of the Experience
New and final Dear Evan Hansen show dates have been released and are now available exclusively through TicketWorld. Don’t miss the opportunity to catch Dear Evan Hansen at the Theatre at Solaire this September 4, and must close on October 5. The Manila season is presented by GMG Productions, with UnionBank of the Philippines as GMG Productions’ official 2025 season bank sponsor. For updates and exclusive announcements, visit www.gmg-productions.com or follow us @gmg.productions.
ABOUT THE SHOW
Dear Evan Hansen tells the story of Evan Hansen, an anxious high school student longing for a sense of belonging. When a misunderstanding spirals into something much bigger than he ever imagined, he is faced with an impossible decision: tell the truth and lose everything, or embrace a lie that brings him closer to the life he always dreamed of.
Dear Evan Hansen features a book by Steven Levenson and music by Benj Pasek and Justin Paul. The ATG Productions, Gavin Kalin Productions, and Nottingham Playhouse UK tour production is directed by Adam Penford, with set and costume design by Morgan Large, choreography by Carrie-Anne Ingrouille, lighting design by Matt Daw, sound design by Tom Marshall, and video design by Ravi Deepres—musical supervision by Matt Smith, with musical direction by Michael Bradley. Casting is by Natalie Gallacher CDG for Pippa Ailion & Natalie Gallacher Casting, with Michelle Payne as associate director and Laura Llewellyn-Jones as orchestral manager.
Dear Evan Hansen is presented through a special arrangement with Music Theatre International (MTI). All authorized performance materials are supplied by MTI. www.mtishows.com.
The Bodyguard The Musical is opening in Manila in just a few week! From September 26 to October 19, Rockwell’s brand-new Proscenium Theater will host the Manila premiere of the hit stage adaptation of the iconic film. Expect a thrilling blend of romance, danger, and Whitney Houston’s unforgettable hits performed live. Rockwell and 9 Works Theatrical proudly announced that acclaimed West End star Matt Blaker will take on the role of Frank Farmer, the iconic bodyguard himself in the much-anticipated Manila debut of The Bodyguard The Musical.
Meet West End’s Matt Blaker
Headlining the show is acclaimed West End leading man Matt Blaker, who steps into the role of Frank Farmer, the stoic protector at the heart of the story.
Photos by JC Inocian | Courtesy of 9 Works Theatrical
A Guildford School of Acting alum with an impressive roster of stage credits including his impressive repertoire includes standout roles such as Raoul in ‘The Phantom of the Opera,’ Bob Gaudio in ‘Jersey Boys,’ James in ‘Jesus Christ Superstar,’ and most recently, Billy Flynn in ‘Chicago,’ Blaker is ready to captivate Manila audiences.
He also played Billy Bigelow in ‘Carousel,’ Dick Trevor in ‘Lady Be Good,’ Dexter Haven in ‘High Society,’ Ernst in ‘Cabaret,’ Lt. Cable in ‘South Pacific,’ Levi in ‘Joseph and the Amazing Technicolor Dreamcoat,’ and Mr. Bingley in ‘Pride and Prejudice.’ Beyond theater, he has showcased his talent on screen in Netflix’s hit series ‘The Crown,’ and has performed with Jersey Boys for an audience of over 700 million on China’s CCTV New Year’s Eve show.
On playing Frank, Blaker shares: “What I love about Frank is that he’s fueled by both duty and passion. He’s a man of many sides, family-driven yet fiercely committed to his work and it’s a gift to be able to portray such a layered character.”
Blaker’s combination of West End pedigree and on-stage magnetism makes him the perfect choice to bring the beloved character of Frank Farmer to life for Filipino audiences.
Filipino Talents Share the Spotlight
Blaker will share the stage with an impressive lineup of Filipino talents, including Christine Allado, who plays Rachel Marron.
Joining them is award-winning gospel singer-songwriter Sheena Palad as Nicki Marron, bringing her soulful voice and stage charisma. She has won many hearts with her powerful voice and soul-stirring music. She’s earned multiple Aliw Awards and the title of PPop Gospel Artist of the Year. Beyond music, she shines as a TV and events host and as a performer. She has starred in the movie ‘Pugon,’ and in the musicals ‘Going Home to Christmas’ and ‘Joseph The Dreamer.’
Alternating the role of Fletcher are Elian Santos and Giani Sarita. Elian made his stage debut at the age of four. He was seen in ‘Liwanag Sa Dilim,’ ‘Si Medea,’ ‘Ibarra,’ and ‘Joseph the Dreamer.’ Beyond the stage, his voice breathes life into characters in ‘Spirit Rangers,’ ‘Leo,’ ‘Not Quite Narwhal,’ and other Netflix series. Giani was last seen on stage in ‘Liwanag Sa Dilim,’ he’s also a recording artist, an international ramp model, and a WCOPA 2022 Grand Finalist. He has graced fashion runways in Japan, Milan, and New York. He has since appeared in the film ‘Rewind’ (2023).
Star Magic artist CJ Navato takes the stage as Ray Court and as Frank Farmer cover. With over 20 years in the industry, he continues to capture the hearts in film, TV, and now including his passion for theater. He rose to fame as a mainstay in ABS-CBN’s ‘Goin’ Bulilit’ and has since appeared in various shows like ‘Luv U,’ ‘Doc Ricky,’ ‘Pedia,’ and ‘Dirty Linen.’ He was last seen on stage in ‘Side Show: The Musical,’ ‘Liwanag Sa Dilim,’ ‘One More Chance The Musical,’ and ‘Charot!.’
Sought-after host and eventologist Tim Yap returns to the stage as Sy Spector. From hosting his own self-titled talk show with GMA in 2013 to more recent projects such as the Miss Universe Philippines and GMA Gala, he continues to make waves in premier events around the country and on social media.
Multi award-winning performer and Entertainment Director John Joven-Uy returns to stage as Bill Devaney. He brings his WCOPA World Champion pedigree (Broadway Category, 2006) to this production fresh from his 2025 Global Trends Leadership Award win. He was recently seen in GMA’s Encantadia and ABS-CBN’s Pamilya Sagrado, as well as international productions such as Miss Saigon (Germany) and Song of Joseph (Broadway).
The theater’s sought-after leading man Vien King is Agent Laney. A decade into his stellar career, he won Best Actor in a Musical (Gawad Buhay, LEAF Awards) for ‘Passion.’ He’s since wowed audiences as Ibarra in ‘Liwanag Sa Dilim,’ Rama in ‘Rama Hari,’ Michael in ‘tick, tick…BOOM!,’ and most recently Buddy Foster in ‘Side Show: The Musical.’ He also starred onscreen in ‘Partners in Crime’ and ‘Love at First Stream.’
Artist and educator Jasper Jimenez is Tony Scibelli. He was recently seen in ‘Liwanag Sa Dilim,’ ‘Buruguduystunstugudunstuy,’ ‘Ang Huling El Bimbo,’ and the award-winning ‘Himala: Isang Musikal’ as well as its 2024 MMFF film version.
Paji Arceo also joins The Bodyguard as Douglas. His passion for performing started with joining his Batangas-based repertory group. He further explored his acting by taking part in indie films such as ‘Lahoy Ng Daya,’ ‘My Beshie Love,’ and ‘Missed Calls.’ He made his first TV appearance in GMA’s ‘Tiktoclock’ segments ‘Oras Mo Na’ and ‘Singpatible.’ He was recently seen on stage for the original musicals ‘Liwanag Sa Dilim’ and ‘One More Chance The Musical.’
Also joining the cast are Jasmine Fitzgerald, Radha, Fay Castro, Winchester Lopez, Carmelle Ros, Richardson Yadao, Iya Villanueva, Vyen Villanueva, Alex Aure, Julio Laforteza, Natalie Duque, PJ Rebullida, Lorenz Martinez, and Lani Ligot.
Jasmine Fitzgerald joins The Bodyguard as Rachel Marron and Nicki Marron cover. She started her star journey with the touring production show Manila By Night in Australia. She wowed audiences on the first season of GMA’s The Clash, and she was last seen on stage in ‘Once On This Island,’ ‘RENT,’ and ‘Passion.’
Vocal powerhouse Radha was last seen in ‘Once On This Island.’ She is best known as an original member of the Filipino-Canadian hip-hop group Kulay. She was also seen in the first season of The Voice of the Philippines.
Fay Castro is a theater actor, burlesque dancer, wig and costume designer, writer, and director. Making her mark with RENT, her theater credits include ‘Once On This Island,’ ‘Liwanag Sa Dilim,’ ‘Beautiful: The Carole King Musical,’ ‘Snow White and the Prince,’ ‘All Out Of Love’ and most recently, ‘Side Show: The Musical.’
Winchester Lopez is a versatile dance artist with a rich background in jazz, modern, and Philippine traditional folk dance. He was part of the Miss Saigon UK International Tour, the Danish version, and was the Dance Captain of the German version in Austria, as well as the Australia and Asia Tour. He is also the Dance Captain for The Bodyguard.
Carmelle Ros will play Rory. She trained as a ballet dancer from her younger years with Effie Nañas, BP and PBT. She was in ‘Sweet Charity’ and ‘Grease.’ She has notably honed her Jazz skills with Salinggawi Dance Troupe, The Hotlegs, and Dancemasters.
Richardson Yadao will play Bobby. He is a two-time Gawad Buhay Awardee, dance artist, educator and choreographer. He has performed notable roles for numerous productions of the Ballet Philippines & Alice Reyes Dance Philippines such as ‘Cinderella,’ ‘Giselle,’ ‘Midsummer Night’s Dream,’ ‘Sleeping Beauty,’ ‘Peter Pan,’ ‘La Revolucion Filipina,’ ‘Rama Hari,’ and ‘Manhid.’ He also performed across the USA for the production ‘Masterpieces: Celebrating 45 Years of Dance.’
Iya Villanueva began her journey in the performing arts at the age of five, training in ballet and jazz. She has since choreographed and starred in music videos for notable OPM artists. Her theater credits include ‘Liwanag Sa Dilim,’ ‘Joseph The Dreamer,’ ‘Ang Huling El Bimbo,’ ‘Buruguduystunstugudunstuy,’ and ‘Mula Sa Buwan.’
Vyen Villanueva will play Jimmy. He is a theater and commercial actor, singer, dancer, choreographer, and a certified treasury banking professional. Last seen on stage in ‘Tabing Ilog The Musical,’ he’s been in notable productions such as ‘Eto Na! Musikal nAPO!,’ ‘Passion,’ ‘Disney’s Newsies,’ ‘A Christmas Carol,’ and ‘RENT.’
Alex Aure is a commercial model and professional dancer. She began her training in various dance styles, with a strong focus on jazz, as a member of the Lasallian Pointes N’ Flexes Dance Company. In 2014, she further pursued her passion for performing by joining Hotlegs Dance Company.
Julio Laforteza returns to stage in The Bodyguard. He was last seen on the musical stage in ‘Carousel.’ In 2016, he was a scholar for dance at New York University’s Tisch School of the Arts. He is currently the Associate Director of Galaw.Co Dance Theater and a faculty member of Studio Dance by Lina and the School of Alice Reyes Dance Philippines.
Natalie Duque graduated cum laude at the University of the Philippines Diliman under the BM in Dance program and joined the UP Dance Company from 2018-2020. Currently, she is an apprentice with Galaw.Co Dance Theater and a dance teacher for children and adults.
PJ Rebullida will be a performing swing. He is an actor, dancer, choreographer, educator, and Founder and Artistic Director of Galaw.Co Dance Theater. As an actor, he was last seen on stage in ‘Once On This Island’ and ‘Disney’s Newsies.’ As a dancer, he took on lead roles for Ballet Philippines and danced for Ballet Luneburg & Stage Entertainment in Germany.
Veteran actor Lorenz Martinez will be a swing. He has wowed audiences with his impeccable acting chops, comic timing and his soaring tenor voice in countless comedies and musicals both locally and internationally, including Miss Saigon in the Netherlands. He was recently seen on stage in ‘Once on This Island’ and ‘Joseph The Dreamer.’
Veteran actress Lani Ligot rounds up The Bodyguard cast as swing vocalist. Last seen in ‘Liwanag Sa Dilim,’ she is a pillar of Philippine theater with her decades of experience as an actor and educator. She was also in the 2000 Hong Kong production of the ‘Once On This Island’ and was also seen on ‘Noli Me Tangere,’ ‘El Filibusterismo,’ ‘Miong,’ ‘Rak of Aegis,’ ‘Joseph the Dreamer,’ ‘Cinderella,’ and ‘Priscilla Queen of the Desert.’
The Bodyguard The Musical is directed by Robbie Guevara as director, together with Raul Montesa as assistant director, Daniel Bartolome as musical director, Mio Infante as scenographer, Arnold Trinidad as choreographer, Shakira Villa-Symes as lighting designer, Aji Manalo as sound engineer/designer, GA Fallarme as video and projection designer, Jay Aranda as technical director, and Elliza Aurelio as hair and makeup designer.
Heading the production team is managing director and executive producer Santi Santamaria, with Anna Santamaria as operations/finance director and company manager, Charyl De Guzman as production manager, Jonjon Martin and Loreta Arroyo as PR managers, GM Hernandez as marketing manager, Reine Paisley as marketing & social media head, Pachot Festejo as production stage manager, and JC Inocian as photographer.
Opening its curtains with a spectacular debut, The Bodyguard The Musical will be the inaugural show to grace Rockwell’s new 780-seater state-of-the-art Proscenium Theater. Catch it from September 26, 2025 until October 19, 2025, at 8:00 PM on Fridays and Saturdays, and 3:00 PM on Saturdays and Sundays, with tickets now available at Ticketworld. For updates, partnerships & bulk buying inquiries, follow them on Facebook and Instagram (@prosceniumtheater).
The Bodyguard The Musical is a 9 Works Theatrical production, presented by ROCKWELL, with METRO as the official media partner, MAC Cosmetics as the official make-up partner, and Pitchworks as the official billboard partner. Special thanks to ABS-CBN, Aruga, Turkish Airlines, PilotTV, and The People Diary PH by Myra Ho.
The Bodyguard The Musical is presented through special arrangement with Theatrical Rights Worldwide. If you’ve been waiting for a show that blends global star power with local brilliance, this is it. Don’t wait until the last minute, secure your tickets today and be part of the magic when The Bodyguard The Musical opens in Manila. Join the excitement with #TheBodyguardAtRockwell and #TheBodyguardMNL.
Philippine Educational Theater Association (PETA) proudly announces the triumphant return of its award-winning musical Walang Aray, a poignant reimagining of Severino Reyes’ sarsuwela, Walang Sugat. The fiercer and sharper iteration of the well-loved musical runs from August 29 to October 12, 2025, at the PETA Theater Center, as the centerpiece of PETA’s 58th season, themed Love and Power.
Walang Aray proves that classic stories can be timeless when reinforced with a daring spirit that speaks to the pulse of today’s society. Now on its third run, PETA bares a more comedic, more subversive, and bolder and biting Walang Araythat speaks directly to today’s generation of Filipinos. It calls to rise, to love fiercely or as the spirit of the musical urges, Tumindig at Umibig… pa more!
PETA’s new Artistic Director, J-mee Katanyag explains the necessity of a rerun: “Walang Aray remains to be a relevant theatrical piece for every Filipino trying to live, love, learn, heal, and fight back in a world full of aray.”
The musical delves into how love and power intersect, examining how our romantic, familial, and national relationships are shaped and often wounded by systems of control. She adds, “This version doesn’t pretend we are unhurt. It acknowledges na may sugat, may aray mula sa kasaysayan, sa lipunan, sa pamilya, and that these wounds may change form over time, but they remain.”
Director Ian Segarra reflects on the initial staging of Walang Aray, acknowledging the risk involved in reviving a traditional form like sarsuwela and infusing it with comedy, meta-theater, and commentary. The show resonated deeply by mirroring collective experiences, proving that a story seemingly set in the past could reflect the pains, absurdities, and courage of the present.
As Segarra puts it, “Walang Aray became a bridge between the past and the present and for many, a realization that the wounds of our history are still open.”
At the heart of Walang Aray‘s new iteration is its revolutionary and inclusive casting. PETA embraced a bold vision and purposefully gave center stage to diverse voices and identities. This is an artistic choice that redefines storytelling. By featuring members of the LGBTQIA+ community in pivotal roles, PETA broadens the lens through which we understand identity, relationships, and community.
The inclusion of new cast members further adds to the excitement, with two sets of actors bringing “double the brilliance, double the chaos, double the heart.” Their fresh interpretations and electric chemistry have transformed the show.
This approach really drives home Walang Aray‘s main points: Love and Revolution. It asserts that true revolution begins with radical empathy and the courageous act of loving regardless of social constructs. This production advocates a non-binary way of looking at the world, where identity is celebrated, and love transcends conventional boundaries. We embrace and we accept.
The whole cast of Walang Aray is full of amazing original and new cast members, and each one adds their own unique touch that enriches the narrative. The casting choices are organically woven into the fabric of the production, making the love story resonate with an unprecedented immediacy. Artistry meets advocacy, which is embedded in the beating heart and DNA of PETA.For Ian Segarra, the rerun offered a rare opportunity to “dig deeper into the material with new eyes.” The team revisited scenes, questioned previous choices, and refined what needed refining, adding new songs and revisiting old ones. They also focused on ensuring a safe space for everyone in the production during rehearsals.
He shares that “the process was both humbling and thrilling”, especially with Norbs Portales joining as Associate Director, bringing “fresh pulse, insight, energy, and collaboration.”
Why is Walang Aray needed now more than ever? In the current Philippine social and political setting where divisions and prejudice still run deep and voices on the margins often struggle to be heard, Walang Aray offers an important counter-narrative. It reminds us that at the center of our struggles are varying stories of affection, defiance, and hope. The play’s message of love and revolution urges us to fight for a world where everyone belongs and can love without fear of “aray.” It’s a wake-up call, wrapped in laughter, proving theater is still a potent force for understanding the world.
For Katanyag, “Walang Aray reminds us na kahit may sugat, may saya. Kahit may aray, may pagmamahal. At kapag tumindig ka at umibig ka pa more, may pag-asa… May paghihilom.” When artists and audience, past and future, come together to tell these stories of healing, “baka sakali…Walang Aray becomes more than a title and a play. It becomes a way forward.”
The return of Walang Arayis more than a theater run. It’s a cultural moment. It is a celebration of identities, a call to remember together, and a reminder that love will always be the most powerful revolution.
Walang Aray is produced by PETA in partnership with Indie.Go Media, together with its official banking partner, Metrobank. The show runs for 38 shows at the PETA Theater Center from August 29-October 12, 2025. Tickets are now on sale via Ticket2Me.net
For partnerships and inquiries, contact PETA at publicrelations@petatheater.com. For more information about Walang Aray, follow PETA’s social media pages Facebook, Instagram.
