A Broadway classic reborn in Manila, this is musical theater at its most passionate, powerful, and precise
I saw it last Thursday night, a few days ago, but suddenly, it was the mid-70s and I was eight or nine, singing along with my Mom to One Singular Sensation, kicking our legs in the air as high as we could. We had a difficult relationship, my Mom and I, fraught with melancholic memories, but also smattered with happy ones. I get my love of musicals from her—A Chorus Line was among her favorites (she had the vinyl, and boy, were the grooves worn thin!), so by default, it became one of mine.
For me, watching Theatre Group Asia’s (TGA) Manila staging at the Samsung Performing Arts Theater (S-PAT) was like opening a time capsule and finding every note, every kick, every raw, unvarnished emotion exactly where it should be. The ensemble is electrifying—each dancer not just performing, but living the story, cracking jokes, baring insecurities, and owning dreams that feel painfully real. The choreography hits with precision, but also with that gritty, lived-in energy you only get when performers genuinely understand the heartbeat of the piece. Vocals soar and settle, taking your emotions on a journey through the highs and heartaches of humanity.
The ensemble that makes you believe
TGA’s casting process is typically methodical and meticulous—and this show was no exception. With a six-month search spanning New York, Manila, Cebu, Bacolod, and Davao, the production has assembled a mix of Broadway, West End, and local theater talent whose skill and soul are impossible to ignore. Stars like Conrad Ricamora (Zach) and Lissa de Guzman (Cassie) share the stage seamlessly with standout performers such as Christina Glur (Diana), Brie Chappell (Val), Iya Villanueva (Maggie), Angelo Soriano (Mike), and Jordan Andrews (Al), among others, on an exceptionally talented roster.
Each performer brings individuality and lived experience to their character, but what unmistakably sets this production apart is how those individual strengths fuse into a collective presence—the troupe moves, breathes, and feels like a single, pulsating organism. This is where the genuine strength and heart of the production lie. As Associate Director, Jamie Wilson, shared with me before the show, TGA’s approach to its artists is Broadway-standard, fostering trust, confidence, and freedom to stretch emotionally and physically. And this vote of confidence is undeniably paying off. The ensemble is endearing, empowering, and enthralling—super relatable but riveting in every way.
Whether you’re a seasoned theatergoer or someone who’s simply navigating life’s joys and disappointments, the emotional resonance is as immediate and profound as the production’s overall stellar execution.
Music, mirrors, and memories
The live orchestra, conducted by musical director Farley Asuncion, elevates every scene. It’s a soundscape perfectly balanced between nostalgia and freshness: strings, brass, and percussion echo the 70s era while supporting the performers with seamless timing and dynamic sensitivity. Along with the cast’s vocal prowess, the live, flawlessly executed music delivers a nuanced storytelling that keeps the audience utterly engaged.
The visual design amplifies this effect. Director and choreographer Karla Puno Garcia, an Emmy Award-winner and Broadway powerhouse, transforms the S-PAT into a fully realized stage environment. Strategic lighting design highlights intimacy during monologues, while broad washes and spot cues magnify the spectacle in ensemble numbers. Mirrors, gold accents, and reflective surfaces multiply energy across the stage, creating an optical echo that makes every kick and turn feel larger than life. Costumes are functional yet striking, allowing performers to execute demanding choreography without sacrificing style.
Beyond the kicks—humanity on stage
This production is far more than a recreation of a Broadway classic. A Chorus Line is, at its core, a cross-section of humanity. It explores what happens when passion collides with limitation, and what it means to face the inevitable end of one’s dreams. The dancers’ yearning is palpable in I Hope I Get It—that desperate, trembling desire to be seen, to belong, to be chosen. Questions hang in the air: what will you do when the numbers tell you you’re almost perfect in one way, but utterly lacking in another (Dance: 10, Looks: Three)? When you can’t dance anymore? When you have to say goodbye to your ambitions? Songs like What I Did for Love (which Glur performs with equal parts vulnerability and vocal vibrancy) offer a hauntingly beautiful meditation on mortality, memory, and borrowed time, giving audiences space to reflect on their own lives.
Individual performances dazzle, yet the true impact arises from the ensemble, as a whole—the collective energy and synergy that makes the line more than a formation, turning it into a living, breathing community. Every monologue, gesture, and kick contributes to a tapestry of ambition, resilience, and shared humanity.
Broadway-grade production in Manila
TGA’s production achieves a level of artistry that would feel at home on Broadway, thanks in large part to its emphasis on triple-threat performers—dancers who can sing, actors who can dance, singers who can act. This isn’t just a marketing label: the company’s performers embody the full spectrum of theatrical skill, allowing the choreography, music, and story to meld and unfold beautifully. That triple-threat capability, combined with TGA’s rigorous rehearsal process, ensures both technical caliber and raw emotional power
The structure of S-PAT, itself, is integral to the experience. Managing Director Chris Mohnani, a former professional dancer and choreographer, designed the theater to “embrace” the audience. From specialized rehearsal halls matching the main stage dimensions to cutting-edge lighting and sound systems, the venue allows performers to prepare and present at world-class standards while giving audiences a truly immersive experience. The theater’s sightlines, acoustics, and amenities all support the storytelling, making every number feel immediate and alive.
The result is a production that doesn’t merely mimic Broadway—it channels its spirit and elevates it with local talent, making Manila a city capable of hosting first-rate musical theater experiences.
Why you need to see it
A Chorus Line at Samsung Performing Arts Theater is essential viewing for anyone who loves musicals, storytelling, or simply being moved by human endeavor. It runs only until March 29, 2026, with 18 shows in total, and tickets are selling fast. The finale—One (Reprise)—is worth every effort: the gilded grandeur, the glitter, the glamor, the grip of the scene. BRAVO, and MORE BRAVO!
TGA hasn’t just staged a musical; they’ve resurrected feelings, memories, and moments that remind us why we fell in love with theater in the first place. Whether you grew up on Broadway records or are discovering the power of a story and great kicks for the first time, this production delivers a joyous, bittersweet thrill that lingers long after the curtain falls. For me, aside from the sheer, unadulterated enjoyment of a stunning show, it brought back those evenings with my Mom, singing, kicking, and dreaming together—imperfect, improbable, and utterly unforgettable.
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