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!
Based on the real life of conjoined twins Daisy and Violet Hilton, ‘Side Show’ is a musical by Bill Russell (book and lyrics) and Henry Krieger (music) that first opened on Broadway in 1997 and was later revived in 2014 with a revised book and additional songs. The musical focuses on their journey from being the star attraction of a sideshow to becoming a success in vaudeville. The Sandbox Collective brings its own spin to the stage, using the original 1996 book and director Toff De Venecia stylized his production to make immediate contemporary connections with the material, which is set in the 1930s, to the present day.
The set design by Mark Dalacat (who also serves as assistant director), places the audience on either side of the stage, creating the impression that the audience can see a row of people watching the show, much like a sideshow. The actors come in and out from the side, though some of the action brings the actors up to the audience area. In the first act, set entirely in the sideshow, there are aerials to create the appearance of the carnival. The incredible ensemble are dressed in different styles – according to De Venecia, each member of the ensemble were allowed to create their own freak – that ranges from snake charmer, bearded woman, fortune teller, and so on.
Credits: The Sandbox Collective
In Act Two, when Daisy and Violet are taken away from the sideshow and into vaudeville, the stage adornments become more posh. The ensemble switch from journalists to party guests to vaudeville dancers. It’s a feast of motion and costumes that really stand out (costume design by Carlos Siongco). De Venecia’s direction is to keep it busy when their lives are busy. So that when the play moves to its more intimate, tender parts, it gets really quiet and the contrast is clear.
Credits: The Sandbox Collective
Daisy and Violet may be conjoined twins, but they are very different people. Daisy longs to be a performer and craves the limelight, whereas Violet is more reserved, wants a normal life, which equates to a family and a home. This tension creates the space for the girls to be tested when two men come into their lives who doesn’t see them as freaks but as performers capable of making it big in vaudeville. These men are Terry Connor and Buddy Foster. They clash with Sir/The Boss of the sideshow, convince their best friend, the show’s “Cannibal King” Jake to let them go and come along with them, and find themselves intertwined with the twins more than just professionally. Violet takes a fancy to Terry while Buddy is keen on making Daisy’s dreams come true. And that’s where the trouble begins.
Credits: The Sandbox Collective
Aside from an incredible ensemble who are filled with such diverse types of people but they all can sing and dance and act a storm. Jon Santos is a menacing force as Sir/The Boss and his presence is felt strongly even in his infrequent appearances in act two. The rest of the main cast is split into alternates. Playing Violet and Daisy are Marynor Madamesila and Tanya Manalang and Molly Langley and Krystal Kane; for Terry, it is Reb Atadero and CJ Navato; for Buddy it is Tim Pavino and Vien King; and for Jake, it is Marvin Ong and Joshua Cabiladas.
Credits: The Sandbox Collective
The alternates bring different approaches to the material. Madamesila and Manalang play the sisters very differently. Their differences in character are so clear while Langley and Kane have to fight through the fact that, in makeup, they look alike, and they even have the same quality of voice. Their attack can sometimes be similar in approach and so their Violet and Daisy sometime blur, though they are excellent singers. Navato and King have a more straightforward approach to Terry and Buddy. Navato plays Terry as all business and King plays up Buddy’s need for the spotlight. It’s an accessible performance and well-suited for a big theatrical piece. Atadero and Pavino play it a little more layered, with Atadero’s Terry is conflicted about how he feels about Violet while Pavino’s approach to Buddy is more contained, let’s out little bursts of his need for fame, which creates an interesting layer when his interactions with Daisy get complicated. I had issues with Cabiladas in the show that I saw.
Credits: The Sandbox Collective
A terrific singer, I felt he would lose character in order to sing the powerful songs that Jake does but Marvin Ong stole the performance at every turn. He imbued the vocally demanding songs of Jake with all the frustrations and rage of The Cannibal King that allowed a true marriage of acting and singing. Ong was, without a doubt, a scene-stealer.
Credits: The Sandbox Collective
De Venecia employs Brechtian techniques in directing ‘Side Show’ allowing us to see the stagecraft that was at play. The show opens with the ensemble engaging with the audience, a Brechtian trick to remind the audience that what they are about to see is a show. He then let’s the players change onstage, while introducing modern elements such as a screen and a camera to adorn his 1930 portrayal with a modern feel.
It can be jarring until the show’s finale when the last striking image – that of a marriage – with the whole exploration of what it means to be a freak takes a poignant meaning.
Credits: The Sandbox Collective
The play is dead set in trying to humanize the two women who the world sees as freaks, but the show is constantly reminding us that these “freaks” are humans too. The modernization of the show brings us to think about who we think are freaks in this day and age and De Venecia’s political stand becomes clearer and clearer. It’s a matter of taste, whether this friction works for you, but the intention is tangible and deeply felt.
Get ready for a fantastical adventure as Repertory Philippines (REP) presents its latest mind-bending spectacle for all theater enthusiasts: a brand new musical version of Lewis Carroll’s timeless classic, Alice in Wonderland. This imaginative Repertory Theater for Young Audiences (RTYA) production promises a tuneful, over-the-top entertaining experience for the entire family, which is running from August 23 to December 14 at the REP Eastwood Theater.
Adapted for the stage with music and lyrics by Janet Yates Vogt and Mark Friedman and directed by RTYA Creative Director Joy Virata and Cara Barredo, this new take on the beloved story is going to whisk audiences down the rabbit hole into a land filled with zany characters, a mad tea party, flamingo croquet, and tap-dancing playing cards. This spectacular showcase brings together all the colorful characters from Carroll’s cherished books, Alice’s Adventures in Wonderland and Through the Looking Glass: the ever-curious Alice, the eccentric Mad Hatter, the frantic White Rabbit, the bumbling Tweedle Dee and Tweedle Dum, the clever Caterpillar, the melancholic Mock Turtle, the mysterious Cheshire Cat, and of course the domineering Queen of Hearts.
A stellar ensemble of actors has been cast to bring these iconic characters to life. The role of Alice will be shared by Reese De La Vega Iso, Justine Narciso, and Cheska Quimno. The Queen will be played by Cara Barredo, Pinky Marquez, and Mayen Bustamante-Cadd. The musical’s Mad Hatter are Hans Eckstein and Gerhard Krysstopher, while The White Rabbit will be portrayed by Steven Hotchkiss and Gabo Tiongson.
Joining them are Vino Mabalot and Jay Pangilinan as the Mock Turtle; Stephen Viñas and Sebastian Katigbak as the Cheshire Cat (a role Krysstopherwill also perform); Yhuan Gatbunton and Lance Soliman as the Caterpillar; Drew Bustamante and Paul Atienza as the Tweedle Dum; Katie Bradshaw and Ornella Brianna as the Tweedle Dee; Ayam Eckstein and Jay Barrameda as the Doormouse, Kenny Isidoro and Johann Parungao as the March Hare; Karl Navato as the Dodo Bird (alternating with Pangilinan); and Vinz Castillo and Sean Nolasco as the Knave of Hearts.
Also filling the stage with fun and laughter are the ensemble composed of Coleen Paz, Jacqui Jacinto, Jiliana Tavares, Julia Panlilio, Lucylle Tan, Monica Tulio, Tanja Santos, Astro, DJ Buban, Deo Dela Cruz, Jae Valencia, VJ Cortel, and Keith Campus.
The creative and production team is rounded out by a team of Filipino theater professionals: Musical Director Phoebe Bitoon, Choreographer Stephen Viñas, Asst. Choreographer and Dance Captain Deo Dela Cruz, Set Designer Lawyn Cruz, Assistant Set Designers Lou Cagalingan and Kath Fernando, Costume Designers Hershee Tantiado and Phillip Domingo, Lighting Designer John Batalla, Projection Designer GA Fallarme, and Hair and Makeup Designer Johann Dela Fuente. Ayam Eckstein joins the team as the Company Manager and Patricia Gregorio as Production Manager.
Prepare to be enchanted as REP’s Alice in Wonderland brings the maddest tea party for the whole family from August 23 to December 14 at the REP Eastwood Theater. How do you get to Wonderland? Get your tickets now through TicketWorld at http://bit.ly/RTYAAlice2025TW and Ticket2Me at https://bit.ly/45tNMHU for Orchestra Center or https://www.ticket2me.net/event/22466 for Orchestra Side.
For direct ticket inquiries and showbuying opportunities, message REP’s social media pages @repertoryphilippines, call 0962-6918540 or 0966-9054013, or email info@repphil.org or sales@repphil.org.
Bar Boys: The Musical is coming back stronger and longer than ever! After an award-winning run, Barefoot Theatre Collaborative has announced additional show dates for this well-loved stage adaptation. The show officially opens on October 24, 2025, and now runs until November 23, 2025, at the Hyundai Hall of Aretéin Quezon City. Mark your calendars, this is a limited engagement only.
A Story of Friendship, Dreams, and the Law
Based on the hit film by Kip Oebanda, Bar Boys: The Musical follows four friends, Erik, Chris, Torran, and Josh as they journey through law school with big dreams of changing the world. But with each challenge they face, their friendship, values, and convictions are tested, making for a story that’s just as heartfelt as it is relevant.
The musical has struck a chord with audiences and critics alike, recently winning three major awards at the 15th Gawad Buhay Awards:
Outstanding Ensemble Performance for a Musical
Male Featured Performance in a Musical for Juliene Mendoza
Female Featured Performance in a Musical for Sheila Francisco
Meet the Cast and Creative Team
The lead cast features:
Benedix Ramos as Erik Vicencio
Alex Diaz as Chris Abueva
Jerom Canlas as Torran Garcia
Omar Uddin as Josh Zuniga
Sheila Francisco as Justice Hernandez
Juliene Mendoza and Lorenz Martinez alternating as Paping
Nor Domingo as Atty. Maurice Carlson
Gimbey dela Cruz as Boss Mama
Carlon Matobato, Natasha Cabrera, and Gio Gahol round out the principal roles
Supporting them is a dynamic ensemble featuring Ade Valenzona, Sheena Belarmino, Pappel, Denize Castillo, Mijon Cortez, and more.
Covers and swings include:
Jude Hinumdum, Ian Pangilinan, Shaun Ocrisma, Naths Everett, Ace Polias, and Aecy Abne
Behind this powerhouse cast is an equally impressive creative team:
Pat Valera (Book and Lyrics)
Myke Salomon (Music and Lyrics, Musical Director)
Mikko Angeles (Director)
Jomelle Era (Choreographer)
Yvonne Russell (Assistant Director)
Ohm David (Set Designer)
Hershee Tantiado (Costume Designer)
Meliton Roxas Jr. and Jethro Nibaten (Lighting Designers)
Aron Roca (Sound Designer)
Joyce Garcia (Video Designer)
Julio Garcia (Property Designer)
D Cortezano (Technical Director)
Where and How to Get Tickets
Tickets for the newly added show dates are now available via Ticket2Me. Prices range from ₱999 to ₱3,499, giving theatergoers flexibility in choosing how they want to experience the show.
For more updates and behind-the-scenes content, follow @barefootcollab on Facebook, Instagram, X (Twitter), and TikTok.
Whether you’re a fan of the original film, a theater enthusiast, or just someone who appreciates a good story about growth and grit, Bar Boys: The Musical is the must-see local production of the season. With a compelling story, unforgettable characters, and award-winning performances, it’s an inspiring celebration of what it means to chase your dreams even when the odds are stacked against you.
Book your tickets now and experience the camaraderie, comedy, and courtroom drama that only Bar Boys can bring to the stage.
Feel the Revolution: Les Misérables Returns to Manila! Les Misérables: World Tour Spectacular is charging into The Theatre at Solaire from January 20 to February 15, 2026, for a limited run that’ll leave you speechless. This isn’t just a show; it’s a global sensation marking its 40th anniversary with a bold, arena-sized twist. Curious about Jean Valjean’s saga of redemption and rebellion? Here’s your guide to tickets, vibes, and why this musical is the talk of the town.
Why This Les Mis is a Game-Changer
Unlike previous runs, the World Tour Spectacular isn’t just a retelling—it’s a complete visual and musical overhaul. Think: massive set pieces, fresh lighting design, cinematic projections, and a powerhouse cast and orchestra of over 110 performers and crew, including global stars and Filipino talents, bring Victor Hugo’s story to life with a live orchestra led by Adrian Kirk. It’s a souped-up evolution of the smash-hit Les Misérables: The Staged Concert, which rocked London’s West End for over 200 shows. Producer Cameron Mackintosh has pulled out all the stops, with jaw-dropping set designs, dazzling lighting by Paule Constable, and immersive projections by Finn Ross. Scotland’s Daily Record nailed it: “This powerfully perfect production lifts the roof off!” Ready to belt along to “I Dreamed a Dream” and “Do You Hear the People Sing?”
Ensemble – photograph by Danny Kaan
Manila’s Love Affair with Les Mis
Filipinos have a soft spot for Les Misérables, with its last Solaire run in 2016 sparking standing ovations and sold-out shows. This 2026 comeback, presented by GMG Productions, promises to be bigger and bolder. “We’re thrilled to bring this monumental show back in a format Manila has never seen,” says GMG’s CEO Carlos Candal. The story of sacrifice, love, and revolution hits home with Pinoy audiences, blending grit and heart in a way that feels oh-so-Filipino. Whether you’re a theater newbie or a Les Mis stan, this is your moment to witness a legend reborn.
Enjolras (James D. Gish) and Ensemble – photograph by Danny Kaan
The show takes over The Theatre at Solaire, a venue known for its plush seats and killer sound, from January 20 to February 15, 2026. With only four weeks of performances, tickets are hotter than a Quiapo street market at noon. Don’t wait, this spectacle is set to sell out faster than you can say “One Day More.”
Ensemble – photograph by Danny Kaan
Your Ticket to the Barricades
Tickets drop on August 11, 2025, via TicketWorld, but savvy fans can jump the queue with pre-sale access from August 4 to 7. UnionBank cardholders and those on GMG’s waitlist (sign up at www.gmg-productions.com) get first dibs. Follow @gmg.productions on social media for the latest updates and potential VIP packages. Ticket prices are still hush-hush, but expect options for every budget, stay tuned for the reveal!
What’s the Show’s Vibe?
Directed by James Powell and Jean-Pierre Van Der Spuy, this Les Misérables is built for epic venues, with a 2-hour-50-minute runtime (including intermission) that packs an emotional punch. Expect lush costumes by Andreane Neofitou, soundscapes by Mick Potter, and a score by Claude-Michel Schönberg that’ll give you chills. From Cosette’s tender “Castle on a Cloud” to the fiery “Red and Black,” every moment pops. Sydney’s The Guardian raved, “Do you hear the people sing? I did, and it was magical.” This is theater that grabs your heart and doesn’t let go.
Marius (Jac Yarrow) & Éponine (Emily Bautista) – photograph by Danny Kaan
Who’s on Stage?
Full casting details are coming soon, but whispers hint at a mix of international heavyweights and local stars. With a company of over 110, including a live orchestra, the stage will be bursting with talent. Past tours featured names like John Owen-Jones, so Manila might get a similar star-studded lineup. Check www.gmg-productions.com for updates—could a Filipino favorite steal the spotlight as Éponine or Javert?
Marius (Jac Yarrow) – photograph by Danny Kaan
Seen by over 130 million people in 54 countries, Les Misérables is a theatrical titan. Based on Victor Hugo’s novel, it follows Jean Valjean’s quest for redemption against the backdrop of a turbulent France, chased by the unyielding Inspector Javert. Its themes of justice and hope resonate deeply, and Herbert Kretzmer’s lyrics paired with Schönberg’s music make every song a classic. As Sydney’s Limelight put it, this production “sweeps you up in its grip.” It’s not just a show—it’s a movement.
From its record-smashing Australian run to its Asian leg, Les Misérables: World Tour Spectacular is a bucket-list experience. Whether you’re a musical theater junkie or just love a good story, this Manila stop is your chance to see a global icon in a fresh, electrifying light. Grab your tickets, bring your crew, and get ready to sing your heart out at The Theatre at Solaire in January 2026. Will you answer the call of the barricades?
This September, Rockwell levels up Makati’s entertainment scene with the grand opening of its newest gem: the Proscenium Theater. And to kick things off, they’re pulling no punches, the venue’s first-ever production is none other than The Bodyguard The Musical.
If the title sounds familiar, you probably remember the hit 1992 film starring Whitney Houston and Kevin Costner. Now, the story that defined an era is hitting the Manila stage with a bold new twist, blending romance, danger, and iconic songs in one electrifying show.
A New Stage Rises in Makati as The Bodyguard Musical Kicks Off Rockwell’s Proscenium Theater
The Bodyguard The Musical follows the story of Rachel Marron, a global music superstar whose life is turned upside down when an unknown threat targets her. Enter her new protector, a former Secret Service agent assigned to keep her safe. But as the tension rises, so does an unexpected connection between the two.
What’s a love story without the music? Expect powerhouse vocals and all the chart-topping hits you know and love, including “I Will Always Love You,”“I Have Nothing,” and “Run to You.” With a mix of local and international talent, this staging brings West End-level spectacle to Metro Manila and offers to deliver both the glamour and the grit.
“This musical is about power and vulnerability, love and courage,” says a spokesperson from 9 Works Theatrical, the team bringing the show to life. “We’re thrilled to bring it to the Proscenium Theater, where the energy of the story and the venue come together to create something truly special.”
Already a global hit performed in over 15 countries, this show is finally making its highly anticipated Manila debut. The excitement? Totally justified.
Rockwell’s Proscenium Theater: Your New Go-To for World-Class Performances
The Proscenium Theater at Rockwell Center Makati might just become your new favorite destination. Designed to impress, the state-of-the-art venue features a spacious 16×16 meter stage, an orchestra pit, and fully automated fly lines that help bring larger-than-life productions to the city.
Here’s a bonus, no matter where you sit, the experience feels up close and personal. Even the Dress Circle seats, 20 meters from the stage, offer an immersive view of the action. Who doesn’t love feeling like every seat in the house is a good one?
Dinner, Drinks, and a Show? Rockwell Has You Covered
What makes The Bodyguard a must-see? It’s the perfect mix of heart-pounding drama and feel-good vibes. The story hooks you, the music lifts you, and the Proscenium Theater’s next-level setup makes every moment pop. Whether you’re a theater nerd or just craving a night out that feels special, this show’s got you covered. Plus, it’s the kind of experience that sparks post-show chats with friends—trust us, you’ll be buzzing about that one scene for days.And the fun doesn’t stop when the curtain falls. Proscenium Retail Row, just steps from the theater, is packed with dining spots for a pre-show dinner or a post-show treat. Craving something sweet? Hit up a cozy café. Want to keep the night alive? Power Plant Mall is right nearby for shopping or a chill hangout.
Mark Your Calendar — It All Starts This September
The Bodyguard The Musical kicks off the Proscenium Theater’s opening season this September at Rockwell Center, Makati. Want to be part of this exciting debut? Tickets go on sale starting July 9, 2025, at 10:00 AM, available through premier.ticketworld.com.ph.
This marks the beginning of a new chapter for Rockwell, promising unforgettable shows and new traditions for the city’s entertainment lovers. This is not just a musical—it’s the beginning of something bigger. A thrilling debut. A new tradition. A stage where Rockwell redefines the city’s night out. So, are you ready for the city’s next big stage moment?
For more updates, follow Proscenium Theater on Facebook and Instagram.
Theatre Group Asia (TGA) announces that New York-based Emmy Award-winning choreographer, celebrated Fil-Am director and performer, and sought-after dance educator Karla Puno Garcia will serve as director and choreographer for its local production of A Chorus Line, opening March 2026 at the Samsung Performing Arts Theater.
Puno Garcia’s impressive performance résumé includes numerous Broadway credits, most notably as the first Filipino cast member and dance captain in Hamilton. Her other Broadway performances include West Side Story where she played Lupe, Gigi, and Hot Feet. She also toured the U.S. in Wicked and The Addams Family. On television, she was a finalist on Season 5 of So You Think You Can Dance and appeared in NBC’s Smash, Annie Live!, and Disney+’s Better Nate Than Ever.
In 2023, Puno Garcia made history as the first woman of color to choreograph the opening number of the Tony Awards, earning her an Emmy for Outstanding Choreography for Variety or Reality Programming. She made her Broadway choreographic debut in Days of Wine and Roses alongside Sergio Trujillo. Since then, she has choreographed Cher, The Connector, Noir, and Rent. She also worked on the TV series Power Book III: Raising Kanan and contributed choreography for and appeared in Lin-Manuel Miranda’s film directorial debut, the Oscar-nominated Tick, Tick… BOOM!.
She has also directed and choreographed several short dance films such as The Spot, They Wake, and Bustin’ Loose, which have been featured in several international dance film festivals. An alumna of NYU’s Tisch School of the Arts, she teaches at Broadway Dance Center and Steps on Broadway, while also conducting global dance workshops.
TGA’s Overall Artistic and Creative Director, Tony Award-winner Clint Ramos, describes, “Karla is a great Filipina force. She’s incredibly lauded and celebrated on Broadway. For A Chorus Line, we needed someone who can honor the original choreography by Michael Bennett and his associate Baayork Lee [the original Connie Wong], but who can also bring her own artistry and excellence to make the material come alive and resonate in the modern context. We are thrilled to have Karla helm this project and can’t wait for the Philippines to see her work.”
On leading the iconic musical, which celebrates its 50th anniversary this year, Puno Garcia reflects: “I was very flattered when Clint asked me if I was interested in directing and choreographing A Chorus Line. I got so excited, I immediately said yes. Although I’ve never performed in the show itself, my connection to A Chorus Line is quite deep. I have lived its story my entire life. I’ve been a chorus member countless times and have danced in ensembles for the past 20 years. I think the spirit of the show is something I’ve trained all my life to embody.”
Depicting the trials and triumphs of Broadway’s unsung heroes, A Chorus Line is hailed as a musical masterpiece that revolutionized Broadway. In 1976, it won the Pulitzer Prize for Drama — one of the very few musicals in history to ever do so — and swept the Tony Awards with wins for Best Musical, Best Book (James Kirkwood Jr. and Nicholas Dante), Best Original Score (Marvin Hamlisch and Edward Kleban), Best Direction (Michael Bennett), and Best Choreography (Michael Bennett and Bob Avian). The story follows 17 performers enduring a grueling audition for eight coveted spots in a Broadway chorus, highlighting their personal stories of ambition, disappointment, and perseverance.
This is a tale Puno Garcia knows intimately. She shares, “What resonates most with me is the fight and resilience it takes to stay in this business. Being in an ensemble is very specific. There’s a certain pride in dancing alongside your peers, eight shows a week, through injury, emotional hardship, breakups, missed family events, and more. The schedule is intense. That level of sacrifice is something I’ve lived through and understand deeply. But to me, it’s all worth it. At the end of the day, we get to do something we absolutely love. That reward is indescribable.”
In a case of life imitating art, TGA, in collaboration with Puno Garcia, has launched an international search for the A Chorus Line ensemble, which started in New York last month. The casting continues with a soon-to-be announced nationwide search in partnership with Ayala Malls throughout key Philippine cities, and is open solely to artists of Filipino heritage.
On what she’s looking for, Puno Garcia explains, “We’re searching for talent that’s exciting, unique, and individual — performers with a strong sense of self. That’s vital to bringing the musical’s characters to life. For those interested, I say: Dance your face off and be a star! Follow your gut, get ready, and go for it! Trust yourself. What you perceive as flaws might just be your superpower. Although we’re looking for an ensemble, each dancer should make the effort to be seen. We want to meet who you are.”
This initiative aligns with TGA’s mission to unite internationally renowned Filipino artists with homegrown talent. Puno Garcia emphasizes, “It’s incredibly important for more Filipinos to have opportunities like these. That’s how I got my start. I saw others fly before me. That gave me the inspiration and confidence to spread my own wings. I fell in love with dance at age three during my first tap class. Then I trained at a dance studio where I saw students graduating from my dance school going on to Broadway. That was always the big goal for me as a young dancer. There are so many other great talents out there with infinite potential but don’t get the chance to train or be given a stage. That’s what makes this project even more meaningful. We get to see and discover the talent out there.”
Puno Garcia promises a production that honors the legacy of A Chorus Line while making it resonate with a new generation of Filipino theatergoers, “I’ve been in conversation with Baayork Lee, who embodies the spirit of the original production. I think I can bring my natural choreographic instincts — my sensitivity to music and versatility in dance genres — into the directing process. 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.”
The show’s executive producer and a former internationally-acclaimed danseur himself, Chris Mohnani echoes, “We, Filipinos, are known to be great singers. This time, we’reexcited to stage a piece of musical theater that puts a spotlight on our dancing talent, utilizing movement as a vehicle to unravel a story. A Chorus Line glorifies intense love for the arts, profound passion, and razor-sharp focus in working to produce excellent work – the very values TGA advocates.”
For more information about A Chorus Line, please visit www.theatregroupasia.com, or follow Facebook and Instagram @theatregroupasia.
*A Chorus Line is presented by arrangement with Concord Theatricals on behalf of Tams-Witmark LLC. www.concordtheatricals.com
After stealing hearts and making waves in 2023 with two sold-out runs, Bar Boys: A New Musical is back and it’s not just a rerun. This October, the acclaimed production reemerges as Bar Boys: The Musical, reimagined and restaged on a grander scale at the Areté in Quezon City.
With over 9,000 theatergoers moved by its songs, story, and spirit, Bar Boys became more than a hit — it became a movement. Inspired by the beloved film, the musical struck a powerful chord with Filipino audiences, offering not just a glimpse into the rigors of law school, but a soulful celebration of friendship, ambition, and the dreams we fight for.
Now, in 2025, Barefoot Theatre Collaborative levels up the experience. This isn’t just a revival — it’s a full-fledged transformation. Expect bold creative choices, new elements, and deeper storytelling, all while keeping the heart of what made Bar Boys unforgettable.
Early Gift for Day-Ones
To thank the original supporters, an exclusive early-access sale runs from June 13 to 27. If you caught the show last year, you can enjoy 30% OFF select seats for a limited time. Visit bit.ly/barboysgift to redeem your special access.
Countdown to Curtain Call
Leading up to the grand opening, fans can look forward to exciting events — from sneak peeks and cast encounters to surprise-filled gatherings for the theater community. It’s not just a show — it’s a season of celebration.
Opening October 24, 2025
Limited Engagement Only! Don’t miss this thrilling new chapter of Bar Boys: The Musical.
See you at the theater — where stories come alive, friendships are tested, and dreams take center stage.
