‘A Chorus Line’ runs until March 29, 2026 at Samsung Performing Arts Theater, with shows on Thursdays and Fridays, 7:30 p.m., and Saturdays and Sundays, 2 p.m. and 7:30 p.m.
If there’s a thing called last-song syndrome (LSS), where our brain constantly replays a familiar tune we recently heard, could there be also a cognitive phenomenon called the last-dance syndrome (LDS)?
Some audience members in the gala opening of A Chorus Line last March 12 at Samsung Performing Arts Theater at Circuit Makati couldn’t but do some fancy moves at the lobby.
We actually saw Cultural Center of the Philippines vice president and artistic director Dennis Marasigan doing dance routines from One: Singular Sensation, the finale version, sans the hat, in front of some CCP people and friends. We’ve known Sir Dennis as excellent theater director, actor, teacher, cultural administrator, but only now we realized he’s got the moves, baby.
We can’t dance as good as Sir Dennis, but leaving the theater, we could still hear ringing in our ear, like on the loop, these lyrics: “One singular sensation/ Every little step he takes/ One thrilling combination/Every move that he makes.”
It was, indeed, a night full of surprises.
The musical is basically about a group of dancers during audition for a new Broadway show. They are asked about their age and some brief backgrounders. But the audition demands them to tell more about their individual struggles and triumphs, more personal stories, beyond the customary “tell us about yourself.”
Inspired by real-life stories of Broadway dancers, A Chorus Line was created by director-choreographer Michael Bennett and choreographer Bob Avian. The libretto was written by James Kirkwood Jr. and Nicholas Dante, featuring music by Marvin Hamlisch, with lyrics by Edward Kleban.
Since it premiered in 1975, it has become a Broadway classic, winning the Pulitzer Prize for Drama, and Tony Awards for Best Musical, Best Direction and Best Choreography.
The Manila staging is part of its 50th anniversary celebration.
Conrad Ricamora plays Zach.
Richardson Yadao
The lead character is Zach (played by Conrad Ricamora), director and choreographer, who is holding the auditions, like a main judge. He is speaking from the audience seats. He is mostly hidden in the dark and seldom shows himself. He lets his assistant, Larry (Richardson Yadao), give most of the instructions on stage.
Lissa Deguzman
One of the auditionees is Cassie (Lissa Deguzman) who happens to be Zach’s ex-girlfriend, which adds tension to the narrative.
ACC Philippines alumni with Tess Rances (third from left): from left, visual artists Sam Penaso and Aze Ong, dance artists Myra Beltran, JM Cabling, Alexa Torte, and Carissa Adea (Photo by Totel de Jesus)
The Asian Cultural Council (ACC) Philippines board during the gala show; from left, Maria Lourdes Gamboa-Lindo, Dr. Joven Cuanang, Cara Wilson, Ching Cruz, Rajo Laurel, Maribel Ongpin (in front of Rajo), Ernest Escaler, Josie Natori, Sofia Zobel Elizalde, Anton Mendoza and Teresa Rances (Photo courtesy of ACC Philippines)
We were able to watch the gala night upon the invite of the Asian Cultural Council Philippines (ACC). What made the premiere more special was because it supported ACC Philippines’ continuing mission to provide grants and opportunities for Filipino artists and cultural workers. The ACC Philippines event was presented in partnership with the Philippine Amusement and Gaming Corporation, which generously sponsored 100 students to experience the show — an initiative that underscores the shared commitment to making the arts accessible to young audiences.
ACC student beneficiaries from Tiaong, Quezon (Photo courtesy of ACC)
Student beneficiaries from the Polytechnic University of the Philippines (Photo courtesy of ACC)
The gala show was truly a meaningful celebration of the performing arts, bringing together leaders from the cultural, corporate and diplomatic communities.
With regards the merits and flaws, if any, I’ll leave it to TheDiarist.ph credible reviewers Vincen Gregory Yu, Dennis Ladaw and Tats Manahan. I simply belong to the audience—if you love Broadway musicals and you’re into dancing, this is highly recommended. But if you’re just curious and not wanting to be afflicted with FOMO (fear of missing out), and you worry about the rising cost of gasoline and ticket prices, think twice.
My curiosity about A Chorus Line was piqued only last year after seeing Antonio Banderas on Instagram fancying the dance steps a la Sir Dennis Marasigan.
During the March 6 press conference, the production boasted Filipino-American talents who have been trained and won awards in North America.
Director and choreographer is Emmy Award-winner Karla Puno Garcia.
Leading the cast are Tony Award nominee and two-time Grammy Award nominee Conrad Ricamora as Zach and Filipino-American Broadway “triple threat” Lissa Deguzman as Cassie.
It was revealed that the full cast was selected through an extensive global search covering New York and key Philippine cities with an intensive Manila bootcamp under Puno Garcia’s direction.
The ensemble is composed of Iya Villanueva (who gave one of the best performances in local theater last year in Si Faust, After Goethe) as Maggie Winslow, Filipino-American dancer-performer Christina Glur as Diana Morales, Orlando-born Michaela Marfori as Bebe Benzenheimer, New York–based theater actor Angelo Soriano as Mike Costa, Jordan Andrews as Al DeLuca, Mikaela Regis as Sheila Bryant, Filipino-American Ken San Jose as Mark Anthony, Rapah Manalo as Richie Walters, Lord Kristofer Logmao as Frank, , Filipino-American Universe Ramos as Paul San Marco, Hong Kong–based theater performer Brie Chappell as Val Clark, Julio Laforteza as Don Kerr, Sam Libao as Kristine Urich, Stephen Viñas as Bobby Mills, two-time Gawad Buhay awardee Richardson Yadao as Larry, New York–based Filipino-American performer Jessica Carmona as Connie Wong, Alyanna Wijangco as Judy Turner, and Luca Olbes, who makes his professional theater debut as Greg Gardner.
There’s also Anyah Therese de Guzman as the female swing, and theater actor Franco Joaquin Ramos as the male swing. Also in the lineup are Winchester Lopez as Tom, Jim Andrew Ferrer as Butch, Rofe Villarino as Victor, drag performer and dancer Vince Denzel Sarra as Roy, Paulina Luzuriaga as Tricia, and Anna Del Prado as Lois Dillettente.
Assistant choreographer and Asian Cultural Council grantee for dance JM Cabling. Handout photo
The creative team is composed of associate director Jamie Wilson and ACC Philippines grantee for dance, associate choreographer JM Cabling, who has been part of the process from the beginning, from the New York workshops to every audition city.
There’s also London and New York–based set designer Miguel Urbino and New York–based costume designer Kat Ibasco. Lighting design team is led by Cha See, the first Filipina to head lighting design in a major Broadway production Oh, Mary!, while sound design is by Megumi Katayama, fresh from recent work in New York City Center’s Encores! series. Bringing Marvin Hamlisch’s iconic score to life is music director Farley Asuncion.
During the presscon, their common answer when asked about the musical is that it’s their story. Every character is someone each cast member could identify with.
Chris Mohnani, managing director of Samsung Performing Arts Theater, and Theater Group Asia co-founder (Photo by Totel V. de Jesus)
A Chorus Line is the final offering of Theater Group Asia (TGA) for its inaugural season. In his opening remarks, Clint Ramos, TGA’s Tony-winning co-founder, overall artistic and creative director, thanked the audience members and partners for the support. TGA started with the Lea Salonga and Dolly de Leon-headliner Request Sa Radyo in October, 2024, followed by the limited run of Into The Woods in August, 2025.
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Ramos also excitedly revealed the three productions for TGA’s 2026–2027 season.
“We honor three unforgettable, powerful stories that stir, challenge, and transform. This season places the human capacity to influence through love, survival, and creation on center stage. While each production proudly spotlights artists and narratives, the season ultimately celebrates something even greater: the power every person holds to shape hearts, defy limits, and leave a lasting mark,” he said.
In September is The Notebook: The Musical. “Since it opened in Broadway only in 2024, the Manila run would mark its international premiere,” Ramos said. It features the music and lyrics of Ingrid Michaelson and a book by Bekah Brunstetter. The musical debuted in 2022 at Chicago Shakespeare Theater under the direction of Michael Greif and Schele Williams.
TGA breaks away from expectations that it’s only for English language material. In February 2027, it will stage Federico García Lorca’s final play, Ang Tahanan ni Bernarda Alba. TGA is using Chay Yew’s adaptation, translated into Filipino by Guelan Varela-Luarca.
The season finale will be Stephen Sondheim and James Lapine’s Sunday in the Park with George in June 2027.
‘A Chorus Line’ is presented in arrangement with Concord Theatricals on behalf of Tams-Witmark LLC. www.concordtheatricals.com
Performances run until March 29, 2026, with shows on Thursdays and Fridays at 7:30 p.m., and on Saturdays and Sundays at 2 p.m. and 7:30 p.m. Tickets are available via TicketWorld, priced from ₱900 to ₱5,500.
The production is presented by Ayala Land, BPI, and Philippine Airlines, the official carrier, with additional support from Make It Makati, Circuit Makati, and Ayala Malls.
For more information, visit theatregroupasia.com, follow @theatregroupasia on Instagram, or like the official Theatre Group Asia Facebook page.
