‘A Chorus Line’ (2026) stamps Theatre Group Asia’s position in the local theatre scene

The material itself is a time capsule of the Broadway industry, but the issues it raises linger to this day and resonate even more with people of colour vying for a chance to be onstage. It is an ode to the relentless hustle, the rejections and the sheer grit required to make a living in the arts.

However, with the local theatre industry experiencing a boom—multiple productions opening here and there, talent performing in one production after another and audiences who grew up with digital media appreciating more and more each day the ecstatic experience of live performance—A Chorus Line’s narratives somehow feel melodramatic and a stretch when seen in Manila. But can anyone ignore the reality that the theatre industry needs more safeguards? Should those performers really feel the effects of this “boom” in a more tactile way, whether through financial security or even a slight chance for fame? Not to mention the urgent need to make the rehearsal room and the stage safe spaces for creativity to flourish.

Yes, there are those reality checks that add complexity to reading TGA’s choice to end its 2025/2026 season with A Chorus Line. But in a country where theatre actors and dancers revel in film, theatre and television as characters that fill the stage or the frame, TGA has already ensured it has its target market for its season-ender. What comes off instead is not a melodramatic, “preaching to the choir” production, but a celebratory one. One that reclaims the popular Broadway industry saturated by Western material and pale faces. It moves the lens to the Filipino talents’ own roots. It reconfigures the phrase “global” or “world-class,” usually associated with Filipino talent, to its own home, making a statement that it doesn’t matter if we don’t have a theatre industry like Broadway or the West End. We have the talent, the range, the nuances and people do not need to fly far to witness them.

Performers like Conrad Ricamora have spoken about the constant fight to get into audition rooms and onto stages globally. Bringing these internationally acclaimed artists together in Manila to tell a story about fighting for a place to belong feels incredibly poignant. It reflects the universal pursuit of passion, mirroring the shared experiences of Filipino artists scattered across the globe who are now finding a unified voice on their home soil.

Moreover, Ricamora’s portrayal of Zach veers away from the stereotype that directors are terrifying. His deep voice comes from a sincerity that brings to the surface the individual power a particular performer possesses. True to the text, we see his patience running out and frustrations coming in. But it’s no longer because he wants a name for himself, or he’s under the pressure of making a good show. Rather, his presence situated in the midst of a sea of audience verbalises everybody’s sentiment: let us see each performer’s diamond-ness in their roughness.

A true Broadway triple threat, deGuzman infuses the role of Cassie with genuine, lived experience—having worked her way from ensemble swings to starring roles like Elphaba in Wicked. Her rendition of The Music and the Mirror is steeped in longing and desperation, executing the complex dance breaks not just as steps, but as expressions of Cassie’s inner emotional state.

Emmy Award winner Karla Puno Garcia tackles a massive challenge: honouring Michael Bennett’s untouchable, iconic original choreography while infusing it with fresh artistry. She succeeds beautifully. Garcia balances the fiercely competitive nature of the opening numbers with the cohesive, unified vision of the finale. Her choreography allows the performers’ individual personalities to shine through, proving that a chorus line is not just a monolith but a collection of distinct, brilliant artists moving as one.

The entire cast—selected from a rigorous global search spanning New York, the UK and across the Philippines—operates as a perfectly tuned engine. Standouts include Christina Glur as the resilient Diana Morales, Universe Ramos delivering Paul’s devastatingly vulnerable monologue and a vibrant supporting cast that ensures every character’s brief moment in the spotlight is maximised. The restraint in perfection at the beginning of the show feels far from intentional. It helps audiences see whether a character would be cut from the auditions. Thus, making the pulling off of a chorus line choreography in the end all the more deserved and a satisfying sight to behold, with the glorious sun from our Philippine flag serving as an emblematic backdrop for our pride as a nation.

Miguel Urbino respects the iconic visual of the bare stage and the mirrored backdrop, creating a stark, inescapable environment where the actors have nowhere to hide. Broadway lighting designer Cha See masterfully shapes the emotional landscape. Since there are no lavish sets, her lighting does the heavy lifting to isolate characters during their intimate monologues and explode into brilliance during the full-company numbers. Megumi Katayama’s sound design ensures the rapid-fire dialogue and internal thoughts are crystal clear, while Kat Ibasco’s costumes capture the authentic, sweaty reality of a gruelling dance call before transitioning into the glittering gold of the finale.

As the company gears up for a powerful 2026/2027 season with the international premiere of The Notebook: The Musical, a new Filipino translation of the world theatre classic Federico García Lorca’s The House of Bernarda Alba and the beloved musical Sunday in the Park with George, there is still much to see from TGA. Will it still be true to its signature of infusing Filipino elements into the production design, as it did in its past productions and in A Chorus Line? If yes, what else?

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