Connecting Filipino artists worldwide for world-class productions
A rising force in Philippine theater, Theatre Group Asia (TGA) connects Filipino theater artists worldwide to create world-class productions for both local and international audiences.
In an exclusive Zoom interview with Lifestyle, New York-based TGA artistic director Clint Ramos recalled that he and the late director/impresario Bobby Garcia, then based in Vancouver, conceived the idea while working on “Here Lies Love” on Broadway. They wanted to bring their experiences back home.
“While Manila hosts touring productions, nothing is produced here with the express mission of building a broader Filipino community within the global theater landscape,” said Ramos. Then he posed the question: “How can we capitalize on our international connections to create a groundbreaking production and build it here? This show isn’t an import, nor is Manila simply a stop on a tour. The production will originate in Manila.”
TGA’s leadership is comprised of individuals with extensive international experience. Garcia, the founding artistic director, helmed productions across the United States, Canada, and Asia.
“We didn’t want to formally announce the formation of TGA and eclipse ‘Request Sa Radyo,’” said Ramos.
Inaugural season
Following “Request,” TGA announced its mission and inaugural season, featuring two musicals: Stephen Sondheim’s “Into the Woods” in August and Marvin Hamlisch’s “A Chorus Line” in 2026.
Ramos clarified that this initial focus on established works does not preclude future productions of original Filipino musicals or plays.
Set and costume designer Ramos’ work graces Broadway and West End stages. He coproduced the Tony-nominated Imelda Marcos biography, “Here Lies Love.” He is also the producing creative director of the New York City Center.
Ramos collaborates with Christopher Mohnani as TGA executive director. Mohnani, a former principal dancer and artistic director in the US, also serves as executive director of the Samsung Performing Arts Theater (S-PAT), TGA’s resident venue. John Echauz is the board president.
TGA’s pilot production, “Request sa Radyo,” a staging of Franz Xaver Kroetz’s “Wunschkonzert” (Request Program), exemplified the company’s artistic vision. This wordless monodrama was a radical choice in a local theater scene dominated by musicals. Ramos’ reconfiguration of the 1,200-capacity S-PAT into an intimate 400-seat arena was itself an exceptional feat.
The production featured global Filipino talents Lea Salonga and Dolly de Leon, who alternated in the role of a solitary OFW. Garcia, commuting between Canada and New York, conducted rehearsals—a commitment that sadly proved to be his last. (He died Dec. 17 at age 55.) Aside from public performances, the actresses conducted master classes for students and theater enthusiasts, while theater students were given access to observe the technical rehearsals.
Despite a limited run of 20 performances, with a total occupancy of 8,000 seats, “Request sa Radyo” proved financially successful and attracted a younger audience, defying expectations for such an unconventional production. The considerable buzz generated by the play has sparked inquiries about potential engagements in New York and Los Angeles.
Ramos explained that he and Garcia were eager to present Sondheim’s works in Manila over time. They also wanted to explore a distinctly Filipino interpretation of “Into the Woods” without altering the original script or score. Chari Arespacochaga, a theater professor at Florida State University with extensive directing experience in the US, was supposed to codirect with Garcia. Months before Garcia’s demise, Ramos recalled conversations with him about Arespacochaga leading these productions, expressing confidence in her ability to create world-class theater.
Two musicals
“Into the Woods,” a dark comedy, examines the less idyllic lives of well-known fairy tale characters brought together by a baker and his wife seeking to break a witch’s curse. Live music will accompany each of the 18 performances, a choice Ramos explained honors both the musical’s creators and the art of music itself. The musical is specific about the voice types of its characters. Some female roles require knowledge of two kinds of singing techniques: legit soprano similar to classical opera singing, and contemporary belting.
Salonga, the show’s central figure, returns to the role of the Witch, which she first performed 30 years ago in Singapore. While the Witch’s role requires a singer who can belt and deliver powerful vocals, Cinderella is a soprano and Rapunzel is a high soprano.
Ramos noted that Fil-Am Broadway star Arielle Jacobs, as Cinderella, not only possesses a dramatic belter voice but also a rarely heard soprano register. He noted that audiences will hear Jacobs’ soprano voice in “Into the Woods.”
“A Chorus Line,” opening in March 2026, explores the demanding audition process for a Broadway show. Seventeen dancers and singers share their moving stories of ambition, disappointment, and sacrifice as they compete for only eight roles. This production presents a challenge in the Philippines: finding performers with advanced dance and vocal skills.
Mohnani explained that TGA’s international origins—with Garcia in Canada and Ramos in New York during its formation—influence their programming and production choices. Recognizing the limited number of Filipino triple threats (performers who excel in acting, singing, and dancing), they plan to provide boot camps or workshops, led by top pros, to bridge any skill gaps and to ensure a polished final product.
Ramos added that he speaks with Baayork Lee, an associate of the musical’s choreographer, the late Michael Bennett, and the original Connie Wong.
“Baayork oversees all international productions to ensure the choreography’s integrity. We are committed to honoring that original choreography.”
He also hinted at a “Filipino force” involved in the musical who has yet to be recognized in the Philippines.
In the future, Ramos envisions himself primarily overseeing productions, allowing other designers to create sets and costumes. Already, actors of Filipino descent have been presenting their credentials for consideration in upcoming shows.
On the collaborative vision with Ramos and Garcia, Mohnani explained: “The goal is for local theater practitioners and creatives to learn how to navigate the field from a global perspective. Clint and Bobby maintain very high standards, pushing the boundaries of theatrical possibility. The Philippines is ready for this.”
Said Ramos, “Now we’re providing a space for our global Filipino artists and creatives to come home to and for our local talents to engage with theater makers around the world.”
