Who would have thought that a musical from 1975 would find itself not only reimagined, but also resonating even louder to a new generation of audiences in 2026?
A Chorus Line staging in Manila? From an outsider’s perspective, it felt like an unexpected choice. The musical just celebrated the 50th anniversary of its opening on Broadway, and the image of a chorus line, leans towards tall and svelte dancers’ bodies on that stage. Then again, maybe it presented an opportunity to take this show by the top hat, and give it a 5, 6, 7, 8 do-over. Theatre Group Asia (TGA) did exactly that, giving us ‘one singular sensation’ of a show that felt energetic, fresh, and real, where ‘performance level’ took on a whole new meaning.
Related story: Broadway hit ‘A Chorus Line’ dances into Manila with a Filipino heart. Here’s what to expect
Related story: 20 years ago, ‘High School Musical’ taught me not to stick to the status quo
5, 6, 7, 8
Leading up to the show, both TGA and the cast were posting their dance bootcamp and rehearsal videos all over social media. On top of that, Emmy-award-winning Fil-Am choreographer and director Karla Puno Garcia was on board to direct. So expectations were high on the dance front. To say they did not disappoint is one huge understatement.
So here’s the rub—this show needed an ensemble (more on this word later) of triple threats. With auditions going all across the country, Los Angeles, and New York, it looks like some of the best ones made it onto that stage.
This iteration of A Chorus Line soared, leapt, and pirouetted its way through its 2.5 hours plus running time. Well, maybe not exactly that. Puno Garcia’s choreography took the show in a fresh new direction. The dancing was sharp, tight, and dare I say, sexy. Everyone moving synchronously, rhythmically as one unit, as though there was an invisible string connecting each of them. While you could tell who was more comfortable across dancing styles, she played to each of her actor’s strengths, and it showed.
There was Richardson Yadao’s Larry standing in perfect form, Ken San Jose’s Mark vibing as he moved, and Rapah Manalo’s Richie owning the stage in Gimme The Ball. Puno Garcia was clearly tipping her hat to the show’s jazz and ballet roots, but breaks out of that formation towards Hip Hop and street dance. And just like that, the show found itself golden and all suited up in 2026.
Regis play dancers who reminisce how ballet and dance have become a guiding light
on their journey to the stage.
But if there was one number that felt like a personal reflection for its director, it would have to be The Music And The Mirror, where Cassie pleads to Zach (Conrad Ricamora) for a shot at the chorus. There is a quiet intensity and emotional depth to the choreography, which Fil-Am actress Lissa de Guzman moved through rather eloquently. She put all her feelings on display, pouring it all out on the stage as she danced. That she was in a ‘room’ surrounded by mirrors gave the scene poetry, as though they were reflecting back some hidden truth about her.
Perhaps what made these dance numbers sing, yes, sing, figuratively speaking, was the combination of Miguel Urbino sets and Cha See’s lighting design. The reimagined rehearsal room, with moveable and descending mirrors, gave added dimension to the storytelling.
Related story: REVIEW: Do you hear the people sing? ‘Les Misérables’ proves revolution still hits home in Manila
Is that you, God? No, it’s Conrad
There was much excitement last year when it was announced that Tony Award-winning film and stage actor Conrad Ricamora would be joining A Chorus Line in the role of Zach, the director looking to cast the ensemble for his show. Aside from being on the show, it was also his first time back to his father’s homeland. So, if you weren’t already a fan, I will say this: the hype is so real.
Ricamora’s take on Zach treads the line between mildly tyrannical, as was typical of putting together a show back in the day I am told, and a mix of sensitivity and curiosity. Everything about his performance felt effortless, rooted in the truth of having lived that life at some point. You could sense an understanding of not only his own character, but of the experiences of each of his fellow actors’ roles. As he engages with Paul and Cassie, you pick up on that emotional push and pull between being mentor-director and friend.
And then there’s also what happens when Ricamora starts to speak.
The actor has the kind of voice—deep and resonant—that makes you stand up and pay attention. Mimicking an actual audition, he moves to different parts of the theater, as a device to keep the actors he is ‘auditioning,’ and the audience along with them, on their toes. Once he starts speaking, everyone turns their head to seek him out.
Alas, Ricamora is not always visible, depending on where you are seated in the theater. In fact, it almost feels as though you are listening to the voice of God, as his words float through the air towards the stage. So if I had one issue about this show? I needed more Conrad Ricamora sightings please. More seen, not just heard. Full stop.
What I did for love
Puno Garcia has always said that A Chorus Line is the story of an ensemble—the proverbial backbone of any production. That no show is complete, or able to move forward without them. And this is their story—which in turn, is made up of the individual stories of each one on their journey for a spot ‘on the line.’
It is quite an ‘ensemble’ that they put together for this production. The chemistry is there, and it makes the show. You can see it in the charming repartee between Jordan Andrews’ Al and Sam Libao’s Kristine as they play off of each other as a married couple auditioning together. Props to Libao for making ‘not knowing how to sing’ sound so good! You also pick up on it when Christina Glur’s Diana Morales sings the musical’s anthemic What I Did For Love, and the company joins in to echo her sentiment. I do wish this song had a much much bigger moment though, coz that one weighs a ton when it comes to the feels.
By the time the whole stage golden (with Urbino’s handiwork), and the completed chorus line steps up, this insanely talented cast transforms the ensemble, plus Ricamora, just ‘a show’s backbone’ to its driving force.
We are all part of the ensemble
Aside from some themes not being as relevant today, it really doesn’t matter that A Chorus Line first premiered in 1975 – we’re all still living its story. Names and photographs on a headshot or a resumé, fighting for a shot at something, anything even. Juxtapose the narrative anywhere else off the stage, and you find that at the heart of it is a reminder of what it takes to live a life less ordinary. And in those rare cases, a chance at greatness. Who doesn’t want that?
Something about this staging fans that flame – to be like Cassie when she tells Zach, “I’m a dancer” and takes agency over it. For us to take agency over what our lives can be. And to just go for it.
There is one more thing that A Chorus Line tells us about life, one that becomes clear during a specific moment in the finale number. The dancers are moving from a line into a circle, in perfect step with each other as they link arms without missing a beat. My point? We are all part of an ensemble. Or a version of it. Whatever that looks like for you. No matter what pivot or transition you are going through, you will need a company of ‘dancers’ or kindred souls to sashay through life with.
I walked away from the theater with those thoughts dancing, pun intended, around in my head, with a slight temptation to break into a two-step along with it.
Since A Chorus Line opened, so many words have been tossed around on social media about—spectacular, phenomenal, showstopper, passionate, fire. Every one of them is true. So if you’re still hedging as to whether to see this show or not, maybe this is your sign to go into a plié, then take a leap towards those tickets.
Theatre Group Asia’s “A Chorus Line” runs Thursday to Sunday until March 29 at the Samsung Performing Arts Theater, Circuit Makati. Showtimes are at 7:30 pm, with weekend matinees at 2 p. Tickets are available through TicketWorld, with prices ranging from P900 to P5,500.
Related story: 2025 in theater: How Filipinos deepened their love affair with musicals
