‘Bagets The Musical’ is a nostalgic reverie with gentle growing pains

The brilliance of this stage adaptation lies in its earnest attempt to deepen the narrative by exploring family, love, sacrifice and identity across generations. Under the insightful direction of Maribel Legarda, the production boldly expands the roles of the mothers—the ermats (mothers)—using the complex mother-and-son relationship as a vital lens to “interrogate Filipino male machismo.” As these mothers struggle to balance love, survival and selfhood, the boys are pushed to define who they want to be in a world where old ideas of masculinity no longer quite fit.

However, in its thoughtful attempt to modernise and elevate the source material, the production makes certain narrative choices that gently smooth over some of the grittier complexities it seeks to highlight.

The musical aims to push the boys’ journey beyond teenage kalokohan and kilig into a deeper, more profound search for what it truly means to become a man. Yet, this objective feels slightly softened by the creative decision to omit a pivotal storyline from the 1984 film: the character originally played by Chanda Romero.

In the cinematic version, Topee’s involvement with an older woman added a necessary, albeit controversial, layer of complexity to his coming-of-age trajectory. By streamlining Topee’s storyline (played with earnest, infectious energy by Sam Shoaf and Jeff Moses), the musical creates a decidedly more wholesome viewing experience. Without this transgressive exploration of early adulthood and the messy realities of misplaced affection, Topee’s arc feels a touch lighter, leaving a subtle void where a profound commentary on youthful naivety could have thrived. This change has shifted the audience’s critical eye towards May-December affairs, solely to Adie (portrayed alternately by Andres Muhlach and Mico Hendrix Chua) and Ivy (Ava Santos). Also, it turned Topee’s storyline into more of a self-discovery, the reparation of his relationship with his mother, and the ills and woes present in the private lives of entertainment celebrities.

The production also grapples with maintaining a cohesive tonal balance, particularly regarding the character of Tonton (portrayed alternatingly by Migo Valid and Milo Cruz). The musical smartly positions Tonton as the emotional core of the play, anchoring the heavier themes of family pressures and emotional distance at home.

While this provides the first act with a grounded, poignant gravitas, it creates a stark contrast in the second half of the show. As the production leans into its jubilant jukebox format—featuring an innovative mix of original songs and salin-awit (translation and appropriation) of iconic hits, peppered with “American and British pop music”—the upbeat, pop-infused vibrancy often stands in stark juxtaposition to the heavy emotional lifting required of Tonton’s storyline. Balancing these profound familial stakes with colourful, shoulder-padded production numbers becomes a delicate high-wire act, occasionally interrupting the emotional momentum established earlier.

Perhaps the most fascinating example of the musical’s modern sensibilities is its treatment of Janice (played by Sam Marasigan), originally portrayed by the illustrious Eula Valdes. In a brilliant nod to the rapidly changing Philippines of the Eighties, the creative team thoughtfully evolves Janice into a student-activist. This update is rich in potential, offering a sharp socio-political contrast to the boys’ carefree antics.

However, this compelling characterisation ultimately remains a gentle undercurrent rather than a driving force, as it does not digress significantly from the original storyline. Janice’s activism gracefully yields to the conventional romantic trope of falling in love with the elite-born Arnel (Ethan David Santos and KD Estrada). While the socio-political tension is a welcome and highly engaging addition, it conforms rather safely to the nostalgic expectations of a neat, romantic resolution, rather than fully complicating their dynamic.

Despite these gentle dramaturgical critiques, Bagets: The Musical remains a formidable and deeply moving achievement in Philippine theatre. It is a production that invites the audience to reconnect with past selves and remember cherished moments, asking a poignant question, Katanyag shares, “After decades since the pop cultural phenomenon film was shown, have we truly grown up, or are we still coming of age?”

Viva Communications Inc’s chairman and CEO Vicente Del Rosario, Jr is entirely correct in noting that “the stories of our youth will always carry common themes,” remaining “familiar and nostalgic, but also still relatable.” The creative team—including musical director and arranger Vince Lim, choreographer JM Cabling and scenic designer Ohm David—has crafted a masterclass in theatrical world-building, recreating the iconic Bagets look originally conceptualised by Butch Garcia. The adult cast, particularly the ermats (Neomi Gonzales, Kakai Bautista, Natasha Cabrera, Mayen Cadd, Ring Antonio and Carla Guevara-Laforteza) and Gie Onida’s transformative turn as the Erpats, provide an exquisite emotional anchor to the youthful exuberance on stage.

While its overtly hopeful storytelling gracefully smooths over the darker edges of its characters, Bagets: The Musical succeeds triumphantly as a vibrant celebration of Filipino talent, creativity and culture across generations. It is a beautiful, deeply engaging and utterly captivating reminder that growing up is not a one-time party, but a “lifelong practice we learn, unlearn and return to again and again,” Katanyag says. It is a reminder of the bittersweet journey of youth, and a brilliant celebration of the old times alongside the best of the new ones.

Bagets The Musical runs at the Newport Performing Arts Theater at the Newport World Resorts until March 22.

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