Grace Libero

Review: "A Chorus Line" by Theatre Group Asia

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<div style="text-align:center"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1774250549820A Chorus Line_DSC01860.jpg" style="width:960px" class="fr-fic fr-dib" width="960"/></div><div><br/></div><p>The idiom wearing different hats couldn’t have been more fitting for the classic 1975 musical “<strong>A Chorus Line</strong>,” staged locally by <strong>Theatre Group Asia</strong> (TGA) at the <strong>Samsung Performing Arts Theater</strong> this month. </p><p>The iconic, award-winning Broadway masterpiece, which celebrated its 50th anniversary last year, requires artists who can not only sing and act, but also dance. Triple threat. And that’s always tricky, because it’s highly likely to come across artists who may excel in one or two, but perhaps three departments would be a stretch (much like Sam Libao’s tone-deaf character, Kristine Urich-DeLuca, wh<strong></strong>ose voice, her friends say, is merely “perfect for the shower”). </p><p>But if there’s anything TGA’s “A Chorus Line” truly proves, it’s that there is no shortage of Filipino artists who can do all three, and do so spectacularly. </p><p>As TGA’s Overall Artistic and Creative Director, Tony Award-winner<strong> Clint Ramos</strong>, said in an exclusive interview with <strong>Metro.Style</strong>, “This cast exemplifies Filipino excellence.” But more than that, he added that it is a testament to “the Filipino promise that if we put our heads and minds and bodies into something, we can achieve it.” </p><p>With New York-based Emmy Award-winning choreographer, celebrated Fil-Am director and performer, and sought-after dance educator <a href="https://metro.style/people/2025/12/2/metro-exclusive-karla-puno-garcia-takes-the-helm-as-director-choreographer-of-a-chorus-line-1045" rel="noopener noreferrer" target="_blank"><strong>Karla Puno Garcia</strong></a> at the helm of “A Chorus Line” as its director and choreographer, there’s a distinct precision, attention to detail, and heart for the art that inspires and drives the cast and crew. </p><div><br/></div><div><span class="fr-img-caption fr-fic fr-dib" style="width:960px;display:block" width="960"><span class="fr-img-wrap"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1774250440429karla puno garcia A.jpg" style="width:960px" class="fr-fic fr-dib" width="960"/><span class="fr-inner">Karla Puno Garcia</span></span></span></div><div><br/></div><p>“Karla brings an incredible combination of rigor and heart. She’s precise—she cares about detail, intention, and clarity—but she also creates a room where people feel safe enough to take risks, which is the only way you get honest work. There’s a real sense that she’s building something with us, not just extracting something from us. That kind of leadership is powerful, and it raises the entire company,” said Tony and two-time Grammy Awards nominee <a href="https://metro.style/people/2026/3/5/conrad-ricamora-and-lissa-de-guzman-talk-about-headlining-the-manila-staging-of-a-chorus-line-0900" rel="noopener noreferrer" target="_blank"><strong>Conrad Ricamora</strong></a>, who plays <strong>Zach</strong>. </p><p>The other lead of “A Chorus Line,” Broadway triple threat <a href="https://metro.style/people/2026/3/5/conrad-ricamora-and-lissa-de-guzman-talk-about-headlining-the-manila-staging-of-a-chorus-line-0900" rel="noopener noreferrer" target="_blank"><strong>Lissa De Guzman</strong></a>, celebrated for her portrayal of Elphaba in the <em>Wicked</em> Broadway National Tour, echoed Conrad’s thoughts. She emphasized how Karla “leads with both clarity and heart.” Lissa told Metro.Style, “She also creates a room where actors feel safe to explore, ask questions, and bring their own humanity into the work. She pushes you to go deeper while making you feel fully supported—that balance of discipline and trust makes you want to give your absolute best every day.”</p><p>The show was “<strong>Karlafied</strong>,” an adjective coined during the press conference of “A Chorus Line,” to express admiration for the sheer talent of Karla to steer an ensemble into one singular sensation, bonded by a shared vision of excellence. While the main material is untouchable, in honor of its origin and storied past, Karla narrowed in on the elements that can be tweaked to deliver a distinctly Filipino treatment. Everything started with the cast—an all-Filipino cast!</p><div><br/></div><div style="text-align:center"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1774250730820ACL I HOPE I GET IT.jpg" style="width:960px" class="fr-fic fr-dib" width="960"/></div><div><br/></div><p>It’s been 50 years since this musical by <strong>Michael Bennett </strong>was staged, with music by <strong>Marvin Hamlisch</strong>, lyrics by <strong>Edward Kleban</strong>, and a book by <strong>James Kirkwood Jr. </strong>and <strong>Nicholas Dante</strong>. A lot has changed since. Some themes don’t come from a place of novelty and aren’t taboos anymore. </p><p>But what hasn’t changed, as Lissa mentioned, is that sense of humanity. It’s at the core of this story about the unsung heroes of Broadway, who are raring for the chance to do what they love and find a place where they can belong. </p><p>While flattered and honored to have been acknowledged as the reason for this staging’s edge, the director was quick to give credit where credit was due. She said that the cast’s presence “is beyond fathomable” and that she’s truly honored to see them shine—singing, acting, and dancing. The cast’s performance—individually and as an ensemble—is what ultimately spells the difference.  </p><p>The thing with “A Chorus Line” is that there is no grand production design that may influence opinions or offset inadequacies in the actual performances. Real, solid talent is front and center in this musical, where the stage is a minimalist yet layered rehearsal studio designed by<strong> Miguel Urbino</strong>. Strategic lighting by<strong> Cha See </strong>and crisp, clear sound by <strong>Megumi Katayama </strong>and music director <strong>Farley Asuncion</strong><strong></strong><strong></strong> are crucial in breathing life into every line, every song and dance number, and every hilarious and poignant scene. </p><div><br/></div><div><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1774250852222ACL 5678 (1).jpg" style="width:960px" class="fr-fic fr-dib" width="960"/></div><div><br/></div><div style="text-align:center"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1774251706158ACL.jpg" style="width:960px" class="fr-fic fr-dib" width="960"/></div><div><br/></div><p>The journey to casting for the Manila staging of “A Chorus Line” was like Zach holding auditions for spots on a chorus line. TGA held auditions across New York, Manila, Cebu, Bacolod, and Davao to form this sensational cast of pure talent. And from the get-go, Karla mentioned that they were looking for artists who are “exciting, unique, and have a strong sense of self.” “Although we’re looking for an ensemble, each dancer should make the effort to be seen. We want to meet who you are,” Karla previously said when auditions were announced. Like how history was made at <a href="https://metro.style/people/2026/3/16/hollywood-s-biggest-night-all-the-winners-from-the-2026-oscars-1145" rel="noopener noreferrer" target="_blank">the recent Oscars</a> for the inaugural Best Casting award, which went to Cassandra Kulukundis for <em>One Battle After Another</em>, TGA deserves a similar recognition for “A Chorus Line.” Casting is crucial for any production, and that part of the process is so important that the whole storyline of this musical revolves around it. </p><p>But I think it becomes an even more essential ingredient in the recipe for success for a musical like “A Chorus Line,” where the artists are storytellers, from lines and lyrics to movements and facial expressions. They’re singing, dancing, acting, <em>and</em> putting themselves into their characters’ ensemble—not just into their shoes but also their attire from head to toe. Every detail has to fit to a tee. I’ve always had high respect for actors who not only get into character seamlessly but also disappear into their roles. And in Theatre Group Asia’s “A Chorus Line,” the casting is remarkable. Each cast member delivered, but as with any production, some inevitably stand out.</p><p>Conrad, with his deep voice elevating his sense of authority in his role as a director, does a great job tying the narrative together. Zach is one with the audience, appearing on the theater’s balconies on a couple of occasions. It’s a move that transcends the audience as mere spectators and subtly puts them into Zach’s shoes. We asked Conrad, “If you were really a director casting for a Broadway production, what do you think is the main thing you’ll latch your judgment on?” He said, “Truth. Not just technique—truth. I’d be watching for who is genuinely present, who listens, who can take direction and adjust, who tells a story even when they’re not the ‘focus.’ And because it’s a chorus, I’d pay close attention to generosity—someone who makes the room better, who can blend without disappearing, who can be a teammate. The best performers aren’t just talented; they’re alive, and they’re connected.”</p><p>And as part of the audience, reviewing the show, I was also drawn to how in sync the actors are. They are all generous in their efforts to make their portrayals memorable, but synchronized for a cohesive whole. Timing, harmony, and collaboration are important in executing many of the scenes—simple on the surface yet complex in nature. </p><div><br/></div><div style="text-align:center"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1774251109223ACL DANCING.jpg" style="width:960px" class="fr-fic fr-dib" width="960"/></div><div><br/></div><p>Conrad and Lissa are credited as the show’s leads and stars. But what’s worth noting is that in TGA’s “A Chorus Line,” there’s a constellation. They make <a href="https://open.spotify.com/track/32pZPGG7hGs8B04LETw5Nj?si=75eefa7e472f448d" rel="noopener noreferrer" target="_blank">“<strong>One</strong>”</a> group, but they’re all stars. </p><p>Lissa as <strong>Cassie</strong> is stunning; she&#x27;s graceful yet sharp. She owned<a href="https://open.spotify.com/track/4X9Xn0FsKzgqmor6obKmmB?si=b185e52c4c394b31" rel="noopener noreferrer" target="_blank"> “<strong>The Music and the Mirror</strong>,” </a>and you could feel her character’s desperation in her powerful performance. </p><p>The tandem of <strong>Jordan Andrews </strong>(as <strong>Al DeLuca</strong>) and <strong>Sam Libao</strong> (as <strong>Kristine Urich-DeLuca</strong>) hits all the right notes, dynamics- and chemistry-wise, in <a href="https://open.spotify.com/track/2z9xTlAwJgaTCYVeRZfEIy?si=50877fff6a664e95" rel="noopener noreferrer" target="_blank">“<strong>Sing!</strong>”</a> </p><p><strong>Christina Glur</strong> as <strong>Diana Morales</strong> is outstanding. She did an excellent job with <a href="https://open.spotify.com/track/3kew6CYvA9xeUwwYFMdAY8?si=fcff00a5d1f44a04" rel="noopener noreferrer" target="_blank">“<strong>Nothing</strong>”</a> and the iconic <a href="https://open.spotify.com/track/4Buem5eQxc1reIeNE4fuIp?si=ef88d5411a374713" rel="noopener noreferrer" target="_blank">“<strong>What I Did for Love</strong>.”</a> </p><div><br/></div><div><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1774251538600ACL RESUME.JPG" style="width:960px" class="fr-fic fr-dib" width="960"/></div><div><br/></div><div style="text-align:center"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1774251722678ACL LINE (1).JPG" style="width:960px" class="fr-fic fr-dib" width="960"/></div><div><br/></div><p>That the artists resonate with their characters on a personal level is a welcome bonus. For instance, <strong>Mikaela Regis</strong> described her character, <strong>Sheila Bryant</strong>, as a “very strong woman” and said that she resonates with Sheila’s “strength” and her “fire.” Through ballet, Sheila was able to escape from her problematic family life. And today, we won’t be hard-pressed to find artists whose crafts serve the same purpose of providing a nurturing experience, something that’s also instrumental in their healing. Mikaela, a playwright who earned a Gawad Buhay nomination for Best Original Script, said, “Aside from being an actor, I’m also a playwright, so I think my whole life, I wanted to be dedicated to being me as an advocate for all women out there… She [Sheila] inspires me so much because she knows what she wants, and she knows how to get there.” </p><p>Two-time Gawad Buhay awardee <strong>Richardson Yadao</strong>, who plays <strong>Larry</strong>, Zach’s assistant choreographer, is interestingly also a choreography teacher, who takes pride in being “a creator of movement and dance.” So, he has a better understanding of what his role requires and delivers his scenes with raw sincerity. </p><p><strong>Rapah Manalo</strong> has a commanding stage presence, a perfect fit for his character,<strong> Richie Walters</strong>, who he described as “a very confident, passionate, and outgoing person.” The artist—whose theater dossier includes “Shrek The Musical,” <strong></strong>“Ang Huling El Bimbo,” “Delia D.,” and “Bar Boys: A New Musical,” among others—resonates with Richie’s passion and fiery personality. </p><div><br/></div><div><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1774252002115ACL PAUL.jpg" style="width:960px" class="fr-fic fr-dib" width="960"/></div><div><br/></div><p>Again, the themes of “A Chorus Line” may not be as relevant as they were decades ago. But the timeless, universal message we can all take away from the show is that their struggles, though indirectly, reflect those of our own. And that’s the part I found genius: the mirrors on the stage, with their warped images, are facing towards the audience, and to me, that symbolically reflects the audience’s own truths. </p><p>Look, we may not be singers, dancers, or actors. But in one way or another, surely, we’ve felt like we wanted to belong, be part of, or do something so badly. Maybe it’s that corporate job or major project you didn’t get. At the end of the day, those feelings of desperation, rejection, and sheer dedication to win in life are things many can easily relate to. </p><p>The cast and crew’s ability to breathe life into those characters from decades ago, with such a breath of fresh air for the modern and younger audience to appreciate, is commendable. </p><p>We’re so used to exporting Filipino talents for the global audience, but Theatre Group Asia showed there’s also immense value in importing artists, who represent Filipino heritage abroad, for local productions.  </p><p>“A Chorus Line” was like a homecoming for artists like Conrad, Lissa, and <strong>Michaela Marfori </strong>(the Orlando native who plays <strong>Bebe Benzenheimer</strong>)<strong></strong>, who made their theater debut in the Philippines through this TGA production. Manila-born <strong>Angelo Soriano</strong>, who made a mark with his portrayal of <strong>Mike Costa</strong>, may be familiar to many as a cast member of the popular YouTube channel, Ms. Rachel, by American educator Rachel Anne Accurso. My 2-year-old niece is a fan of Ms. Rachel’s channel, so it was really delightful to see Angelo from a YouTube channel to a stage in the Philippines. </p><div><br/></div><div><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1774252154156ACL WHAT I DID FOR LOVE.jpg" style="width:960px" class="fr-fic fr-dib" width="960"/></div><div><br/></div><p>All these said, there are four songs from “A Chorus Line” that I’d like to dedicate to Theatre Group Asia. </p><p><a href="https://open.spotify.com/track/3WpLMYIpFXFvLRRiOl5iGk?si=48e089dfae9b4929" rel="noopener noreferrer" target="_blank">“<strong>I Can Do That</strong>”</a>—let it be the company’s battle cry, that whatever theater productions are doing abroad can also be translated locally and excellently, at that. To reword: “<em>We</em> can do that!”</p><p><a href="https://open.spotify.com/track/2s4ybt3VHvgRHHNvGQb2bQ?si=d09145b414a64c82" rel="noopener noreferrer" target="_blank">“<strong>Gimme the Ball</strong>”</a>—nope, give TGA the ball so they can get the ball rolling for more world-class local productions. Hey, <em><strong>The Notebook: The Musical</strong> </em>is what&#x27;s next from TGA this year!<em></em></p><p><a href="https://open.spotify.com/track/4X9Xn0FsKzgqmor6obKmmB?si=452c602e0b584026" rel="noopener noreferrer" target="_blank">“<strong>The Music and the Mirror</strong>”</a>—let them keep the music playing and the mirror always reflecting the realities of life and art through their creative lens. </p><p><a href="https://open.spotify.com/track/4Buem5eQxc1reIeNE4fuIp?si=bb91d0b03c6b4948" rel="noopener noreferrer" target="_blank">“<strong>What I Did for Love</strong>”</a>—don’t forget, don’t regret what you did for love, because you’ll never know who you might be inspiring along the way. </p><div><br/></div><div><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1774252592193ACL ONE FINALE.jpg" style="width:960px" class="fr-fic fr-dib" width="960"/></div><div><br/></div><p>On staging “A Chorus Line” in the Philippines and how they gave it a Filipino flavor, Clint shared, “I think it&#x27;s not about Filipino touches, but more about this sort of feeling of camaraderie and togetherness. You know, this feeling of <em>kababayan</em>, this feeling of like a sense of community, you know, that how every single person or every single member of that community contributes to the whole. And I think it&#x27;s also a lesson for all of us right now, you know, not only as citizens of this country, but also citizens of the world, to really take notice and see that it does take a group of people to push something that&#x27;s larger than us forward.” </p><p>In “A Chorus Line,” TGA has a whole ensemble helping them push local theater to the spotlight. And when we asked what continues to guide the Theatre Group Asia team, including executive director and TGA co-founder <strong>Christopher Mohnani</strong>, when choosing what to stage, Clint said, “It&#x27;s really us as Filipinos, but also as global citizens. I always ask, &#x27;Will this production or will this show that we&#x27;re about to do—will that ask the question of how we as Filipinos engage with the world and the world engages with us?&#x27; It&#x27;s really about that, you know, and also this big, big belief that I have that there&#x27;s a million ways to be Filipino, and we have to see that, right?... We have to create the space and create opportunities for everyone to see how we move through the world as Filipinos, as Filipino artists too.”</p><p>At the end of the day, what “A Chorus Line” achieved was to not only further show how world-class Filipino artists or thespians are, but also to help reignite Filipinos&#x27; love and appreciation for live theater. The golden year of the musical marked a golden moment for the Filipino theater community. For that alone, hats off to them! </p><div><br/></div><div><strong><em>Catch ”A Chorus Line” until March 29, 2026 at the Samsung Performing Arts Theater. Tickets are available via TicketWorld.</em></strong></div><div><br/></div><p>Photos courtesy of <strong>Theatre Group Asia</strong></p>

<p>What they did for love is something we loved—here’s what truly resonated with us in Theatre Group Asia’s “A Chorus Line” and why, 50 years later, this musical still deserves the spotlight.</p>

What they did for love is something we loved—here’s what truly resonated with us in Theatre Group Asia’s “A Chorus Line” and why, 50 years later, this musical still deserves the spotlight.

Hats Off to Theatre Group Asia: World-Class Filipino Talents Are Front, Center, and Behind in 'A Chorus Line'

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Hats Off to Theatre Group Asia: World-Class Filipino Talents Are Front, Center, and Behind in 'A Chorus Line'

Grace Libero

Published Mar 23, 2026 01:00 PM PHT

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Updated Mar 23, 2026 04:27 PM PHT

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A Chorus Line

Theatre Group Asia

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