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A scene from Theatre Group Asia's 'A Chorus Line.' Jyllan Bitalac

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Fred Hawson

<div><span class="fr-img-caption fr-fic fr-dib" style="width:960px;display:block" width="960"><span class="fr-img-wrap"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1773808618110ACL 5678.jpg" style="width:960px" class="fr-fic fr-dib" width="960"/><span class="fr-inner" style="text-align:left">A scene from Theatre Group Asia&#x27;s &#x27;A Chorus Line.&#x27; <em>Jyllan Bitalac</em></span></span></span></div><p>Veteran stage director-choreographer Zach (Conrad Ricamora) was holding auditions with his assistant Larry (Richardson Yadao) for the chorus of his upcoming Broadway production. Upon cutting down the initial group from 24 to 17, Zach asked the young people who remained to tell something more about themselves. The kids shared their own reasons about why they wanted to dance, among other personal discoveries and frustrations.</p><p>&quot;A Chorus Line&quot; is a 1975 musical conceived by Michael Bennett with music by Marvin Hamlisch, lyrics by Edward Kleban, and a book by James Kirkwood Jr. and Nicholas Dante. It won nine Tony Awards including Best Musical. With 6,137 performances logged, it remains to be one of the longest-running original run of a Broadway show ever.  </p><p>This 2026 Manila production joins in the 50th anniversary celebration of this beloved musical. It remarkably features an all-Filipino/Fil-Am cast, under the direction of Emmy Award-winning Broadway-based dancer-choreographer Karla Puno Garcia. </p><p>The stage of the Samsung Performing Arts Theater followed its classic stage design — a bare stage with straight line in the middle that traversed the stage from left to right, on which the dancers would position themselves. There would also be a wall of mirrors at the back to simulate a dance studio, plus eight more movable, lit up mirrored panels being wheeled around, as well as mirrors on suspended panels above the stage. </p><p>The ensemble of dancers were mesmerizing to watch while in motion from that very first 10 minute number &quot;I Hope I Get It&quot; with its iconic grinding riff. As every character was desperate for a job, every one was just giving their all, dancing like there was no tomorrow. Since they were just being taught the steps at that point, each one had their own pace of learning, but despite this, they still flowed so smoothly as a group, and was exhilarating to watch. </p><p>While everyone danced excellently, we can see some clear standouts. Angelo Soriano (as dance prodigy Mike Costa) did a spectacular high jump kick, plus plenty more slick moves during his &quot;I Can Do That&quot; number. Julio Laforteza (as family man Don Kerr) had heft and height drew attention to his grace. Petite Jessica Carmona (as 4-foot-10 Connie Wong) impressively kept in step with her longer-limbed fellow dancers. Virgin Labfest playwright Mikaela Regis (as Sheila Bryant) surprised with her strong, sassy and sultry stage presence. </p><div><span class="fr-img-caption fr-fic fr-dib" style="width:960px;display:block" width="960"><span class="fr-img-wrap"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1773808708331ACL RESUME.JPG" style="width:960px" class="fr-fic fr-dib" width="960"/><span class="fr-inner" style="text-align:left">A scene from Theatre Group Asia&#x27;s &#x27;A Chorus Line.&#x27; <em>Jyllan Bitalac</em></span></span></span></div><p>In the singing department, it was Iya Villanueva (as Maggie Winslow) who stood out for me with crystal clear, soaring and sustained soprano, especially in the &quot;At the Ballet&quot; trio number.  Christina Glur (as Diana Morales) shone in her two solos — “Nothing,&quot; about her disastrous high school acting class, and the inspirational anthem &quot;What I Did for Love,&quot; still the most potent argument against the cynical Timothee Chalamets of the world. </p><p>As this musical was written 50 years ago, it was inevitable that some topics in the confessions of those twenty-somethings back then may already sound outmoded for the youth of today. With Google as their ever-available reference material now, embarrassing questions like wet dreams and gonorrhea for Mark Anthony (Ken San Jose), or erections and homosexuality for Gregory Gardner (Luca Olbes), are not really such a big deal anymore as before.  </p><p>The most risqué number of them all would probably be &quot;Dance Ten, Looks Three&quot; where Val Clark (Brie Chappell) poured out her annoyance at being rejected for roles because of how homely she looked. Things only took a positive turn for her when she bought herself brand new bodily enhancements. The way she so frankly called them &quot;t*** and a**&quot;  sounds so archaic these days, but her song was still good for laughs, even for the titas beside me. </p><p>In Act 1, Zach was mostly just barking instructions on or off stage. But Ricamora gets more stage time as Zach interacted with two dancers whom he cared about. When Zach repeatedly called lissome Cassie (Lissa de Guzman) out, she unburdened her passion for dance in one physically and emotionally demanding solo &quot;The Music and the Mirror.&quot; The other sad character was Paul San Marco (Universe Ramos), a shy kid who lost touch with his parents when he found his calling for dance. He perseveres despite his conditions not being ideal. </p><p>Also in featured roles were: Rapah Manalo (as enthusiastic Ritchie Walters), Stephen Vinas (as gregarious Bobby Mills), Sam Libao and Jordan Andrews (as tone deaf Kristine and her supportive husband Al Deluca), Alyanna Wijangco (as forgetful Judy Turner), and Michaela Marfori (as Nureyev fan Bebe Benzenheimer). The rest of the ensemble include Lord Kristofer Logmao, Jim Ferrer, Winchester Lopez, Rofe Villarino, Bomba Ding (Vince Denzel Sarra), Paulina Luzuriaga, Anna del Prado, and Swings, Anyah de Guzman and Franco Ramos. </p><div><span class="fr-img-caption fr-fic fr-dib" style="width:960px;display:block" width="960"><span class="fr-img-wrap"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1773808759430ACL ONE FINALE.jpg" style="width:960px" class="fr-fic fr-dib" width="960"/><span class="fr-inner" style="text-align:left">A scene from Theatre Group Asia&#x27;s &#x27;A Chorus Line.&#x27; <em>Jyllan Bitalac</em></span></span></span></div><p>In the end, it did not really matter who were the final eight chosen. The point of this musical is to make us see how important the art of dance is to the people who make a living with it — as uncertain its future in terms of job prospects and financial security as it is. The chorus line may just be the backup behind the stars, but these people love their job and take it very seriously. They aim to entertain the audience with their every show, and we feel the very essence of that in the golden, hat-tipping, high-kicking finale number &quot;One&quot; — truly a &quot;singular sensation!&quot;</p><div><br/></div><div><em>Theatre Group Asia&#x27;s production of ‘A Chorus Line’ runs until March 29 at the Samsung Performing Arts Center, Circuit Makati.</em></div><div> </div><p>This review was originally published in the author&#x27;s blog, “<a href="https://3xhcch.blogspot.com/2026/03/tga-review-of-chorus-line-dynamism-and.html">Fred Said.</a>”</p>

<p>Dreams, doubts, and dazzling footwork take center stage in the Manila revival of ‘A Chorus Line.’ Brought to life by an all-Filipino cast, the production captures the fragile, fervent spirit of performers chasing a place in the line.</p>

Dreams, doubts, and dazzling footwork take center stage in the Manila revival of ‘A Chorus Line.’ Brought to life by an all-Filipino cast, the production captures the fragile, fervent spirit of performers chasing a place in the line.

Theater review: Manila’s ‘A Chorus Line’ revival dazzles with all-Filipino cast

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Theater review: Manila’s ‘A Chorus Line’ revival dazzles with all-Filipino cast

Fred Hawson

Published Mar 18, 2026 12:52 PM PHT

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A Chorus Line

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