Walang Kulang Sa Walang Aray: Three Runs After, It’s Still Fresh, Funny, Hits You Where it Hurts

With Segarra and Portales at the helm, alongside Julio Garcia (set design), Patrick Jusay (props), David Esguerra (lighting), Bonsai Cielo (costumes), and Happy Constantino (sound), Walang Aray strikes a renewed balance: between history and now, and more importantly, between laughter and defiance.

In the same vein, Abella’s reason for returning to Walang Aray boils down to love—and the many ways it takes shape in the show. “Sa Walang Aray na ang bangka ay comedy at pagmamahalan, palaging nandiyan ‘yong pagmamahalan ni Julia at Tenyong, pero ang hindi madalas mapansin ay sa likod ng pagmamahalang iyan ay nandiyan din ang bayan,” he explains.

More than just a romance that defies the odds, Abella sees their story as proof that the personal is always political. “Kung iisipin mo, pa’no nga ba hinulma ‘yung taong mahal mo? Hinulma ‘yan ng household, ng community, ng bayan na kinagisnan niya. Kaya kapag minahal mo ang isang tao, minahal mo rin ang lahat ng ideologies na bumuo sa kanya. I think ‘yan ‘yung pinakanag-resonate with me,” Abella explains with Tenyong’s bright-eyed conviction.

That sense of responsibility is echoed by Johnnie Moran, who reprises his role as the token corrupt and vile Padre Alfaro. “The production is something na hindi mo basta-basta maiiwan,” he says. "It’s not the same show as before. The humor in Walang Aray is effective in making people feel disturbed. Kailangan huwag tayong matakot na iparamdam sa audience that there is sadness, there is urgency. It became a responsibility this time around to tone down the humor to drive home the message.”

The lineup of returnees doesn’t stop there. Back in their roles are Bene Manaois (Miguel), Kiki Baento (Monica), Carlon Matabato (Lucas), Neomi Gonzales (Juana), and Gie Onida and Csairus Habla (Don Tadeo). Their presence anchors the show, keeping it recognizable for longtime audiences while fueling a collective drive to push the production’s message even further this time around.

But Walang Aray 2025 isn’t just about familiarity—it’s also about renewal and bringing in new voices that expand what Tumindig at Umibig can mean today. Leading the charge on that front is the new Julia on the block, Lance Reblando.

She’s not alone in that resistance. Joining her is singer-songwriter Ice Seguerra, who, like Lance, brings his perspective as a transman to the stage. In Walang Aray, Reblando and Seguerra’s identities aren’t the roles. Here they are simply thespians who, like their cisgender co-actors, have earned their spots by their own merit.

On a different note, Pinoy Pop Culture Queen Jolina Magdangal makes her long-awaited stage debut in this run. Magdangal trades in her “mata-mata acting” chops for bigger, bolder movements, complementing her bright and bubbly energy. Though initially nervous—after all, there are no second takes on the stage—Magdangal has found her rhythm. Her preview night performance was ripe with her signature comedic timing and expressive acting style. Juana may be her first foray onto the stage, but we’re hoping she gets bitten by the theater bug and takes on more shows. Her energy was infectious, and for a role that could be so easily disliked, Magdangal flips the script, making the overbearing mother more lovable than she should be.

Together with Gold Villar-Lim, Rendell Sanchez, Divine Aucina, and Roi Calilong, these new additions expand Walang Aray’s universe. Not only do they add new faces to watch out for, but they also bring their own flavors and treatments to the characters they play. More importantly, they bring a new energy and rhythm to the stage that makes the production sing even louder with a clearer message.