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.
The Philippine Educational Theater Association (PETA) is giving theater lovers a reason to celebrate: the Official Cast Recording of the hit musical Walang Aray is now streaming on Spotify! These LSS-worthy tracks let fans relive the magic of the stage anytime, anywhere.
A Contemporary Classic Reimagined
Rody Vera’s Walang Aray is a modern take on Severino Reyes’ classic zarzuela Walang Sugat, bringing sharper satire, bolder humor, and deeper emotional stakes to the stage. Blending romance, political commentary, and heartwarming moments, it continues to resonate with audiences as it explores the intersection of love and resistance.
As the flagship production of PETA’s 58th season, themed Love and Power, this revival promises a more comedic, subversive, and biting version of Walang Aray while retaining its emotional core.
IN PHOTO: Cast & Artistic Team of Walang Aray’s 2025 run, taken during the Press Conference event last July 2025.
Tracklist That Will Keep You Singing
The original cast recording features popular compositions by award-winning musical director Vince Lim, including:
“Pangako ‘Yan”
“Luv U 4 Ever”
“Tipo Kong Lalaki”
“Walang Aray Finale”
“Wag Mo Akong Saktan”
“Front Act”
“Tumindig at Lumaban” mashed with the rousing Act 1 ender, “Bayan Ko”
Whether you’re revisiting your favorite songs or discovering new ones, these tracks capture the energy and spirit of the stage production.
Crafting the Sound of Walang Aray
This recording is a proud collaboration with Soundesign Manila, one of the country’s premier full-service audio production houses. Celebrated for sound design, engineering, composition, arrangement, voice casting, and soundtrack production across multiple musical genres, Soundesign Manila has been at the forefront of audio production in the Philippines since 1997. Their expertise brought Walang Aray’s vibrant musicality to life.
IN PHOTO: The Walang Aray cast at Soundesign Manila’s Studio
“At Soundesign Manila, we believe in the transformative power of music and sound. Walang Aray’s cast recording was a way for us to support the arts and the art of doing original music for theater,” said Raul Blay, Soundesign Manila’s President and Founder.
Where to Listen
Stream the Walang Aray Official Cast Recording on Spotify by searching “Walang Aray Cast Recording” or follow this link: bit.ly/WA2025CastRecording
Walang Aray runs from August 28 to October 12, 2025, at the PETA Theater Center. For show schedules and updates, follow PETA’s social media pages @petatheater. Tickets are available via ticket2me.net.
A Show That Captured Hearts and Awards
IN PHOTO: A portrait of Severino Reyes, writer of Walang Sugat
Walang Aray is a poignant reimagining of Severino Reyes’ classic sarsuwela, Walang Sugat, magnifying themes of love and revolution while keeping its core essence intact. Its 2023 run alone featured 58 shows, with two runs due to overwhelming public demand. The musical also dominated the 2024 Gawad Buhay Awards, winning eight major awards, including:
Outstanding Musical
Outstanding Ensemble Performance for a Musical
Outstanding Stage Direction for a Musical (Ian Segarra)
Outstanding Book of a Musical (Rody Vera)
Outstanding Original Score (Vince Lim and Rody Vera)
Outstanding Choreography (Gio Gahol)
In the female performance categories, Neomi Gonzales won Female Featured Performance in a Musical, while Shaira Opsimar took home Female Lead Performance in a Musical.
Produced by PETA in partnership with Indie.Go Media and official banking partner Metrobank, Walang Aray promises 38 shows from August 29 to October 12, 2025, a must-see for theater fans and music lovers alike.
Don’t just hear the music, experience the heart of Walang Aray on Spotify and on the PETA stage this season.
‘Into the Woods’ is a legendary musical. It’s quite accessible as it uses familiar characters from fairy tales and have them engage and interact with each other with comedic results, in the first act, and then heavier, more dramatic effect in the second act. Stephen Sondheim’s Tony Award-winning music and James Lapine’s Tony Award-winning book creates a deceptively fun but also deeply profound musical about the human condition of wishes, hopes, and dreams, and the innocence of longing and desire.
Lea Salonga as The Witch, Mikkie Volante as the Baker’s Wife and Nyoy Volante as the Baker in Theatre Group Asia’s Into the Woods. Photo by Mark Alvarez
The story revolves around some pretty famous fairy tale characters: Cinderella, Little Red Riding Hood, Jack (of Jack and the Beanstalk), and The Baker and the Baker’s Wife (adapted from a classic French tale). Each character must go to the woods but it is the Baker and his wife who enter the forest to gather ingredients needed to lift a curse put upon them so they can have a child. The witch who cursed them demands “a cow as white as milk, a cape as red as blood, hair as yellow as corn, and a slipper as pure as gold.” Their interactions force each character to learn, to grow, and to discover things about themselves and of life in general.
Arielle Jacobs as Cinderella in Theatre Group Asia’s Into the Woods. Photo by Mark Alvarez
I grew up with this musical. My dad would play the original Broadway soundtrack at home on CD, and we watched the 1991 recording of the original Broadway cast performing it in front of a live audience on PBS American Playhouse. I knew every line and could sing every song. So, to be able to catch this show in the Philippines, with an incredible line-up of Filipino talents (Lea Salonga! Nyoy and Mikkie Volante! Teetin Villanueva! And more…) and Filipinos by roots (Arielle Jacobs, Josh Dela Cruz) and a multi-award-winning creative team led by Clint Ramos as producer and Chari Arespacochaga as director, felt like a no-brainer. Adding to the mix a full, live 19-piece orchestra, and this staging became everything I could ask for.
But despite all the talent, the show I saw at the opening gala night seemed to buckle under the pressure of all that expectation. It was opening night, so I can excuse some missed cues and some technical issues with the microphones. The first thing that really stood out was the stage design of Ohm David. Making full use of the Samsung Performing Arts Theater gigantic stage, he created a cavernous set framed by Capiz-shell lattice windows that created the image of an indoor locale. There are three elevated areas creating three large steps to create levels and there are four gray poles meant to stand for trees. Each of the three levels have entrances and exits on both sides of the stage. The size of which becomes problematic as ‘Into the Woods’ is a bit of a farce and the exits and entrances must be quick but because there’s so much space to cover, it kills the momentum as we shift from one scene to the other. Without more trees to hide in for a quiet exit out, the play has to wait for characters to step in and out and it kills the pacing of the show.
Lea Salonga as The Witch and Joreen Bautista as Rapunzel in Theatre Group Asia’s Into the Woods. Phot by Mark Alvarez
This design was the seat of the most of my problems. Much of the story involves going into the woods for the characters to get their wishes – Cinderella, Little Red Riding Hood, Jack (of Jack and the Beanstalk), and the Baker and the Baker’s Wife (from a classic French tale) – and some of the songs repeatedly reference the woods. Yet, visually, the stage never truly evokes that image. The production boasts of approaching the material through a Filipino lens – Capiz-shell window frames, a salakot hat worn by one character, and the magical harp taken from the giant’s lair in Jack’s story designed to resemble a Sarimanok. These are all adornments meant to create a sense of the Filipino but it never really says anything about the culture or how the culture adds a texture or layer to the material. It feels added on rather than integrating itself organically into the show.
Are the four gray poles meant to symbolize that the Philippines has gone urban and so are woods are concrete? Later on, as Jack’s story with the bean stalk play out and the giant’s wife searches for her husband’s killer, she speaks with a Southern American accent, unmistakably? Is the giant meant to be America? But as a friend pointed out, the show’s enemy isn’t the giant, it’s their greed for wanting to get their wishes.
Lea Salonga as The Witch and Joreen Bautista as Rapunzel in Theatre Group Asia’s Into the Woods. Phot by Mark Alvarez
It’s some choices like this that created a resistance to really get into the show. The heavier, more profound parts of ‘Into the Woods’ wasn’t quite hitting its mark but all the fun and humour of it was in full display. Lea Salonga, as the Witch, gave her some of the best songs of the evening, and she can really imbue each one with the weight of emotions that’s required of it. I personally felt that she struggles on the opening night with the first-act costume, the mechanics of the witch’s garb got in the way of her clarity in her performance but the moment she shows her true form, Salonga cut through and delivered some powerful moments. Of the very talented cast, the standouts were really Mikkie Bradshaw-Volante and Arielle Jacobs. Bradshaw-Volante was able to project the difficulties of a wife being taken seriously by her husband, a shade of a typical Filipino household that I would have loved if it was amplified more. But she was able to balance the comedy and the heart of her story and really nailed her solo, which was a triumph of this production. Airelle Jacobs was just perfect as Cinderella. Her vocal range and her innocence; it really created a wonderful space for Jacobs to take Cinderella and show us the not so happy side of happily ever after. Her character’s growth – the realisation that not everything you wish for is what you really wanted – is so evident, especially in her final scene between herself and her prince (Josh Dela Cruz). The moment was so affecting that it left the entire theater in a hushed silence.
The Witch’s entrance in Theatre Group Asia’s Into the Woods. Photo by Mark Alvarez
The cast who got to play and really felt so in synch with the play’s more joyful elements were Josh Dela Cruz and Mark Bautista as Cinderella and Rapunzel’s Princes, along with Kakki Teodoro and Sarah Facuri as the wicked stepsisters. Aside from Dela Cruz, these characters play counterpoints to the main cast and thus have the unenviable task of just having fun and they do. Teodoro and Facuri are campy and loud, create a nice contrast to Jacob’s Cinderella. Dela Cruz and Bautista, on the other hand, take their melodramatic princes into another level completely. They have so much fun, one-upping each other, and trying to find a way to make their princes the most scene-stealing prince of all. It never feels too much, for some reason, because it’s campy approach somehow works with the show’s design that doesn’t quite gel together: the lack of any real woods, the Capiz-shell frames that makes the show feel contained rather than wild and free.
There’s still plenty to enjoy in this production. The songs are gorgeous and gorgeously performed – especially with a 19-piece orchestra under Gerard Salonga’s baton – and some performances really stand out. There are just some choices that I feel restrains the show from reaching its full potential and while there are aspects of Filipino imagery by design or adornments, it never really makes any full connection to the Filipino lived experience to justify these tacked on Filipino markers.
Clothes are never just clothes. They carry our memories, mark our milestones, and often speak when words fall short.
2TinCans Philippines, Cebu’s premier theatre communications company, and Marco Polo Plaza Cebu bring the power of storytelling to life with a heartfelt production of Love, Loss, and What I Wore, happening at 8 PM on August 16 and 17 at the Grand Ballroom of Marco Polo Plaza Hotel, Nivel Hills, Apas, Cebu City.
Written by sisters Nora and Delia Ephron, and based on the book by Ilene Beckerman, Love, Loss, and What I Wore is a heartwarming and hilarious collection of monologues and ensemble pieces about women, clothes, and memory. The play uses clothing and accessories as a time capsule of a woman’s life — from prom dresses and purses to shoes and wedding gowns. Told through the voices of a rotating cast of women, the stories explore poignant and humorous moments tied to identity, relationships, heartbreak, family, and self-discovery.
Directed by Charlene Virlouvet, this Cebu staging features members of the 2TinCans Theatre Company—Liana San Diego, Mikee Amagsila, Regina Binueza, Shanice Kae Suarez, Shifrah Bouchikhi-Enclona, and Vanessa Fe.Also joining the cast are 2TinCans Producing Artistic Director Sarah Mae Enclona-Henderson; language school directress Aleah Alerre Lim; award-winning journalist Andi Pateña-Matheu; multi-awarded social entrepreneur Anya Lim; beauty queen and singer-songwriter Victoria Leslie Ingram; and lawyers– Elaine Bathan, College of Law Asst. Dean and former Undersecretary of the Department of Tourism; retired lawyer Gingging Navarro-Laude, and; public servant, social media personality, and LGBTQIA+ champion Regal Oliva.
“Every woman has a dress that reminds her of something—her first love, her mother, her divorce, her power. This play gives voice to those hidden hangers in our closets,” said Henderson.
Director Virlouvet described the play as a timely reflection on the generational experiences of women. “This play can bridge the disconnect amongst generations of women. It can be a space for intergenerational conversations and sharing,” she shared.
Marco Polo Plaza Cebu General Manager Maximilian Schwalbe emphasized the hotel’s growing engagement with the local community. “We want to host more cultural and social events like this for Cebuanos,” he said.Schwalbe also noted that ticket holders will enjoy special perks, including discounted room rates and dining privileges at all Marco Polo restaurants from August 15 to 18.
Complementing the performance is Stitched, a storytelling exhibit featuring a curated collection of clothes and accessories, each accompanied by a personal story that reveals its deeper meaning. “The goal is to show that fashion is more than just fabric; it’s a vessel for memory,” said Henderson.
In a world that’s constantly changing, Love, Loss, and What I Wore invites us to pause and remember who we are, where we’ve been, and how far we’ve come. Get your tickets at 2tincans-philippines.yapsody.com now!
