Review: TGA’s A CHORUS LINE is a Golden Celebration of Filipino Diaspora
‘A Chorus Line’ closes at The Samsung Performing Arts Theatre, Circuit Makati, on Mar. 29, 2026.
Manila, Philippines—What began as 40 hours of taped sessions with Broadway’s “gypsies” has evolved into a 50-year legacy that redefined the American musical. By shifting the spotlight from the stars to the chorus, this celebrated work earned nine Tony Awards and the Pulitzer Prize for Drama. Now, in a momentous local staging at the Samsung Performing Arts Theatre, Theatre Group Asia (TGA) proves that “A Chorus Line” remains as vital—and as heartbreaking—as ever.
Under the direction of Emmy winner Karla Puno Garcia, the opening number, "I Hope I Get It," takes on a newfound resonance. Through the lens of the Filipino diaspora, the precision of the 30-strong ensemble feels like a collective reclamation of space. Garcia transforms the traditional Broadway audition into a poignant narrative of the Filipino artist’s search for a place on the global stage.
It is an iteration that even long-time fans of the show may find revelatory. Garcia—a veteran Broadway "chorus girl" herself—celebrates the "steely strength" of the Filipino physique alongside the culture’s famed "high-octane" vocal ability. While the cast comes from diverse backgrounds, they move in sync, as if they have been a company for years.
The production maintains the integrity of Michael Bennett and Bob Avian’s original choreography, which remains visually stunning against Marvin Hamlisch’s indelible score and Edward Kleban’s stirring lyrics.
Conrad Ricamora as Zach, and company
As Zach, the formidable casting director, Tony nominee Conrad Ricamora is a commanding presence. Whether he is an authoritative voice from the darkened house or physically navigating the orchestra and mezzanine, Ricamora is occasionally ruthless yet consistently magnetic.
Opposite him, Broadway’s Lissa deGuzman offers a striking, soul-baring portrayal of Cassie. Her Cassie refuses to beg for sympathy; instead, she demands to be seen. In her climactic 10-minute solo, "The Music and the Mirror," deGuzman displays unashamed vulnerability, pleading for a spot "on the line" with palpable desperation.
The technical elements further elevate storytelling. Miguel Urbino’s shifting mirrors, punctuated by Cha See’s marquee-style lighting, serve as a constant reminder of the dancer’s self-reflection and the looming "shelf-life" dictated by age.
The production finds only minor stumbles in its vocal and dramatic consistency. Christina Glur’s Diana could benefit from a more dynamic arc in "Nothing," a vital anthem of artistic identity. Similarly, Universe Ramos’ pivotal monologue as Paul—while deeply earnest—could use a more varied pacing to capture the introspection and warmth the role demands fully.
Ultimately, this Manila production is a "must-see" event where extraordinary Filipino talent radiates. As the cast closes with "What I Did for Love," they perfectly capture the raison d'être of every performer, proving exactly why “A Chorus Line” endures 50 years later.
Photos: Theatre Group Asia
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