1st half of 2025 sees a cultural crescendo on stage
A burst of activity was evident in the performing arts, in theater, music, and dance, during the first half of 2025. Musical theater led the pack, showcasing the Filipinos’ innate talent in singing, dancing, and emoting (triple threats) all in one show.
Straight theater was also alive and well, as was campus theater. And the ballet companies and the symphony orchestras unleashed their own memorable productions.
At the start of the year, the Philippine Educational Theater Association (Peta) staged “Sari-Sali Portal Café,” an intimate play about the interaction between two cultures, Filipino and Japanese. Three stalwarts of the company—CB Garrucho, Maribel Legarda and Beng Santos Cabangon—retired; and a new president, Melvin Lee, was elected. Peta served as venue for outside productions (including the period musical “Pilato”), held workshops, consolidated future plans, and is preparing new productions.
Another old guard, Repertory Philippines (both were founded in 1967) finally found a new home in Eastwood, and restaged Joy Virata’s children’s musical “Jepoy and the Magic Circle” and the comedy “I Love you. You’re Perfect. Now Change,” directed by Menchu Lauchengco-Yulo.
Bestsellers
Tanghalang Pilipino staged “Kisapmata,” written and directed by Guelan Luarca and based, along with various sources, on Nick Joaquin’s true crime story, “The House on Zapote Street.” There were gripping performances by Jonathan Tadioan, Toni Go-Yadao, Lhorvie Nuevo-Tadioan, and Marco Viaña.
“Grace,” the last play by the late Floy Quintos, dealing with the 1940s apparitions in Lipa, Batangas, became a runaway bestseller and can now be seen at Peta Theater until the last weekend of June. Another bestseller was Sandbox Collective’s “Bawat Bonggang Bagay,” translated from the English, and a showcase for the inimitable Jon Santos in a seriocomic role.
And don’t forget the highly successful Virgin Labfest (VFL), a festival of one-act plays now on its 20th year, a project of the Cultural Center of the Philippines (CCP). It’s on at the Black Box Theater (Tanghalang Ignacio Gimenez), CCP Complex, until June 29.
Students’ hour
The Far Eastern University (FEU) Theater Guild again adapted a story by Gabriel Garcia Marquez, “The Trail of Your Blood on the Snow” (translated as “Niyebe”) in a two-hour musical play written and directed by Duds Teraña, with music by Vince Lim. The haunting tale is about a simple wound which leads to fatal consequences.
Dulaang Unibersidad ng Pilipinas (Dulaang UP) came out with a twinbill that tackled climate change. The first (written by Joshua Lim So and directed by José Estrella) focused on mythical creatures, while the second (directed by Issa Manalo Lopez and Tess Jamias) was a madcap comedy about a world beset by storms and floods.
Critics raved about “We Aren’t Kids Anymore,” a Broadway play by Drew Gasparini presented by Barefoot Theater Collaborative. It’s all about holding on to your dreams while dealing with the messy realities of adulthood. Rem Zamora directed with aplomb with Myke Salomon and Farley Asuncion as musical directors. The four actors—Gab Pangilinan, Myke Salomon, Gio Gahol and Luigi Quesada—performed with verve and precision.
“Next to Normal” by Tom Kitt and Brian Yorkey is a Tony Award-winning musical with a most unmusical theme, mental illness. It is also about grief which, as director Toff de Venecia put it, “is constantly omnipresent, and a universal experience.” Shiela Valderrama and Nikki Valdez played Diana Goodman, the troubled woman, with OJ Mariano and Floyd Tena as the husband. The Sandbox Collective presentation had Ejay Yatco as musical director.
Musical theater
“Liwanag sa Dilim” (9 Works Theatrical) was a musical and historical fantasy which featured the music of Rico Blanco, with book and direction by Robbie Guevara and musical arrangements by Orlando Dela Cruz. The lively story was about an orphan, Elesi (Anthony Rosaldo and Khalil Ramos) on the trail of the secrets of his past, which is the cue for the characters from “Noli” and “Fili” to materialize.
Newport World Resorts’ “Delia D.” was the drag queen musical to end all drag queen musicals, and featured the song of yet another pop composer, Jonathan Manalo. It exposed the supposedly ruthless side of drag competitions, and cast the lead (Phi Palmos) as an ambitious drag queen. “Delia D” was directed by Dexter M. Santos, with Menchu Lauchengco-Yulo and Michael Williams as artistic directors, Dolly Dulu as playwright, and Vince Lim as musical arranger. Live music was provided by the Manila Philharmonic Orchestra under Rodel Colmenar.
GMG Productions and Stages’ production “Come from Away,” has an unusual background and is based on a true story: A small town in Canada plays host to plane passengers stranded by the 9/11 terror attacks in New York. It was also the first time GMG Productions featured a Filipino-led cast and crew. Direction was by Michael Williams, with Tony Fortich as musical director and Delphine Buencamino in charge of movement and design. GMG Productions will stage Broadway-West End hits “Burn the Floor” on July 10 to July 15, and “Dear Evan Hansen” on Sept. 4 to Sept. 28.
It’s full steam ahead for the Manila Symphony Orchestra (MSO), with Jeffrey Solares as executive director, as it nears its centenary in 2026.
With Marlon Chen as conductor, and brilliant young violinist Emmanuel John Villarin as soloist, the MSO wowed a capacity crowed at the Aliw Theater in Pasay. On June 28 at 7:30 p.m., also at Aliw, the MSO goes Hollywood, with new music compositions for movies and a suite of major Hollywood compositions. International artists will perform.
Over at the Samsung Performing Arts Theater, Makati Circuit, the Philippine Philharmonic Orchestra under Grzegorz Nowak, presented violinists Aylen Pritchin and Diomedes Saraza Jr., and pianist Rowena Arrieta in concertos which were a hit. He followed this up with a send-off concert with Saraza and pianist Mark Bebbington, then went on an acclaimed tour of cities in the United Kingdom.
A comebacking Philippine Ballet Theater staged “The Merry Widow” and announced it will soon mount “Maria Makiling.” Ballet Philippines also came out with new productions.
The resurgent Alice Reyes Dance Philippines, after its “Carmina” and “Mga Kuwento ni Juan Tamad” triumphs last year, presented “Pagdiriwang,” bringing together recent as well as new productions, classical and contemporary, like “Amada,” “Songs of a Wayfarer,” “Muybridge/Frames,” “C’est la Cie,” and “Glinka’s Valse.”
Ballet Manila scored with “Florante at Laura,” believed to be the first dance interpretation of the Balagtas masterpiece,” and a stunning new production of “Swan Lake.” It will restage another evergreen, “Don Quixote,” in August.
See you at the performance venues!
