The Most Memorable Theater Moments of 2024

(SPOT.ph) The theater scene in the Philippines is alive and stronger than ever.

The year 2024 saw international productions like Miss Saigon and SIX, The Musical hit our shores and we also witnessed the launch of homegrown originals like the Parokya Ni Edgar musical Buruguduystunstugudunstuy and the Jose Mari Chan musical Going Home to Christmas. Safe to say there were a lot of shows this year to keep any theater lover's calendar booked. 

As we look back on the year that was and the plays we saw, it seems there were just moments that stand out more than the others, scenes that still play in our heads long after we've left our seats. Whether it's because of an actor's performance, a line that struck a chord, or the set design rising to the occasion, or a synergy of reasons, they are etched in our minds and will forever remind us of "that play we saw back in 2024." Consider this list a roundup of these unforgettable moments.

Just a caveat: While we tried our darndest to catch all of them this year, there were just plays we weren't able to see. So to make this a real substantial list, we enlisted the help of Spot friends who we know are regular theater watchers: Eric Cabahug, the Palanca-winning writer who also does theater reviews for us and is the screenwriter behind Deadma Walking (currently streaming on Netflix); and lifestyle and culture columists, Ricky Toledo and Chito Vijandre, both champions of the Philippine stage. One other thing: this list is not ranked so don't come at us just because this scene came before that scene—but these scenes do rank high in our memory banks when we think of the most unforgettable theater moments of 2024.

Here are some of our favorite theater moments in 2024:

Seann Miley Moore playing The Engineer in Miss Saigon

If we were to base the Engineer on previous iterations of Miss Saigon, we'd have to admit it's pretty hard to love the character. In casting calls, the Engineer's description is a sleazy but relatable character who you learn to love, but Seann Miley Moore's The Engineer, or more aptly, the Engin(Queer), possessed a certain je ne sais quoi that made you love him the moment he appeared on stage. Moore leaned into his character's "bakla energy" and delivered a performance that just stood out amidst the drama and chaos of Miss Saigon.

Moore, who is known to inject an LGBT nuance into his characters, gave the Engineer an additional layer of complexity by seeing this notoriously misogynistic and selfish persona from a queer lens. Don't get us wrong, his Engineer is still far from a saint but with Moore's portrayal, we got a look into the struggle of a queer character's journey to attain the American Dream. Which just made his "American Dream" number in the play all the more electric and powerful. 

Emilio Jacinto's Death in Pingkian: Isang Musikal

Pingkian: Isang Musikal based on the life of Emilio Jacinto, the “Brains of the 1896 Revolution,” pulled a surprising twist by drawing on the hero’s dreams, delirium, and memories as written by playwright Juan Ekis and set to music by Ejay Yatco to produce a breathtaking theatrical work brilliantly directed by Jenny Jamora. Video projections in soft aquarelle tones interspersed with Jacinto’s writings added lyricism to an intimate stage setting where Vic Robinson as the protagonist and an ensemble cast led by Bituin Escalante as his mother gave commanding performances.

Particularly memorable was the death scene of Jacinto with Bituin singing with such pathos together with chorus members who were strategically positioned around the mother and son. This led to a goosebump-inducing crescendo that was poignant and haunting at the same time.—Ricky Toledo and Chito Vijandre

Audrey II's Reveal in The Little Shop of Horrors

The Little Shop Horrors is a campy, comedy slash horror rock musical revolving around a nerdy flower shop worker pining for his ditzy colleague, Audrey. In the play, said nerd also discovers a sentient carnivorous plant that feeds on human blood which he (creepily) names Audrey II. 

The reveal of Audrey II in the play was such a pivotal moment that those who watched the preview were specifically told not to reveal details of the scene. But now that we can write about it, we can finally rave about Sandbox Collective’s execution of Audrey II's, well, coming out. What starts as little animatronics and puppeteering of baby Audrey II evolves into a full-on character eating up space inside Mr. Mushnik’s flower shop filled with trippy, hypnotic elements. You don't need to be familiar with the plot to know that thing is a monster.

In that standout scene, the giant prop unfolds as the now full-grown Audrey II—played alternately by OJ Mariano and Julia Serad. With the help of an ensemble of dancers maneuvering separate body parts of the neon-streaked monster plant, Audrey II bursts onto the stage, her booming voice and trippy movements declaring the monster has finally been unleashed.

Entering the Parokyaverse in Buruguduystunstugudunstuy: Ang Parokya ni Edgar Musical

Nothing can prepare you for the Parokyaverse, not even if you’re a ’90s kid or hardcore fan who's mastered the lyrics and backstory of every Parokya ni Edgar track. At the center of Buruguduystunstugudunstuy are four different women who find themselves at a crossroads—high school student Aiza (Kyle Napuli), matron Norma (Tex Ordoñez-De Leon), scavenger Jen (Marynor Madamesila), and security guard Girlie (Natasha Cabrera). All are born on the 6th of December and the play follows them as they have the strangest birthday of their lives.

After a dark and broody introduction, the four female leads are transported to the bright, psychedelic world of Parokya through a portalet. A nod to the long acid trip that is Hair (the ’70s American tribal love rock musical) as eloquently imagined by playwright Rody Vera. 

No words would do justice to describe how trippy this scene was, and that was just the beginning. Imagine combining the nostalgic and comic elements of the Filipino barangay into a fantasy world that’s equal parts Broadway, cabaret, Pinoy sitcom, and theme park magic—that's the Parokyaverse. And this scene perfectly introduces the audience to that zany universe and the events that would unfold.

Sam Concepcion's Popoy in the Basha-Popoy-Tricia Car Scene in One More Chance, The Musical

PETA’s One More Chance, The Musical directed by Maribel Legarda, was easy to love because of the songs of Ben & Ben that Musical Director/Arranger Myke Salomon seamlessly transposed into Michelle-Ngu Nario’s script adaptation of the blockbuster film. However, the play's script added more than just music to the hit movie; it also further developed the characters while highlighting mental health and socio-economic issues. Sam Concepcion was a hit as Popoy— a quadruple threat for acting, singing, dancing, and being too impossibly hot onstage. His scene with Basha and Tricia in a revolving car in the rain brought a torrent of emotions both repressed and expressed, effectively using the turning mechanism to show the different characters’ perspectives and feelings.—Ricky Toledo and Chito Vijandre

Carla Guevarra Singing Hahanapin Ko in Going Home to Christmas: A Jose Mari Chan Musical

This number already stands out in this musical for being the only Filipino song in the 22-track repertoire. For many viewers, there’s the very pleasant surprise of learning that this OPM classic from 1980 was co-written by Mr. Christmas In Our Hearts (with Jimmy Santiago who penned the lyrics). But what elevates it to one of the most memorable moments in all of Philippine theater in 2024 is how it beautifully punctuates one of its most clever and creative sequences, delivering a breathless turn of events from playful bickering and fluid flirtation to understated frustration and tenderhearted determination with some sleight-of-hand magic.

The song not only perfectly locates the romantic joy and yearning between the characters in this particular narrative strand — a pilot and his flight attendant wife coping with a long-distance relationship — it also underpins the show’s overall theme of flying on the wings of love. And veteran theater actress Carla Laforteza-Guevarra’s gorgeously impassioned performance makes it soar.—Eric Cabahug

Face in Towel by Dolly De Leon in Request sa Radyo

It’s not easy turning small, ordinary, routinary life into something exciting, electrifying, and extraordinary onstage, but that’s exactly what veteran actress Dolly de Leon did in Request sa Radyo, a wordless hour-long play.

Playing an overseas Filipino worker living by her lonesome and struggling with loneliness abroad, the Golden Globe nominee made this piece of experimental theater originally mounted in 1971 come thrillingly to life with a rich, razor-sharp, lived-in performance that managed to overcome the shortcomings of the adaptation. Among the many artistic expressions she peppered throughout her act, the moment she buries her face in a towel after washing to prepare for bed is particularly insightful. Those few seconds of stillness feels no longer part of her everyday routine. It actually comes across as a pause, a breather, a respite and tells viewers how tired she is from the routine. She might also be wiping away not just water from her face but tears from her eyes, capturing the character’s sadness.

The entire performance is nothing short of a masterclass in acting and these little moments show how deeply connected to and in command de Leon is with the material. It’s what made this silent Radyo show sing.—Eric Cabahug

The Death Scene in Grace

Does the death scene in Floy Quintos' Grace happen in the afterlife? Does it matter? What matters is that it's the heart-rending, if unexpected coda to a searing play about the controversial “Lipa Miracle” of 1948 — the one where a 21-year-old named Teresita (played by veteran actress Stella Cañete) claimed to have seen visions of and received messages from the Blessed Virgin Mary for several days inside a monastery in Batangas.

The moment is preceded by a religious procession across the darkened stage by the story’s protagonists including Teresita herself. Her hair hidden under a scarf, the visionary is the last one in the line. The procession ends with Teresita standing still for a few moments on one end of the stage, her back turned against the audience. She lowers her scarf slowly, revealing gray hair, and then turns around and starts walking back towards the middle of the stage. This time her stride is slower and heavy, like she’s being weighed down not just by her old age. Midway through, she starts lifting up her arms as she continues walking until she steps into the spotlight. She stops, arms outstretched to the heavens, eyes welling with tears, her face registering a gamut of emotions — joy, regret, sadness, defiance, resignation.

A shower of rose petals then rains down on her for a few moments before the spotlight goes out. In those last minutes, in that final walk, in that ultimate gesture, and in that haunted and haunting face, the play plugs audiences into the emotional and psychological trauma Teresita must have endured in silence for 65 years, all the way to her death following the Church’s declaration in 1951 that there was nothing supernatural about the events in Lipa. That the show did all this wordlessly after two and a half hours of often intense wall-to-wall dialogue was genius, and a total triumph of crafting. It’s what makes Grace truly indelible, unforgettable, shattering.—Eric Cabahug

Haus of Holbein in SIX, The Musical

SIX, The Musical was one of the most anticipated foreign productions of the year. The play features the wives of King Henry VIII of England reimagined as an all-female girl group singing to determine which one had the most unfortunate fate. SIX's main draw was that it was more of a concert. Each queen was assigned a genre of her own: there was pop, ballad, even rap. All the numbers were great in their own way but the one that shined brightest was the Haus of Holbein number that preceded the story of Anne of Cleves. 

This number was an EDM-inspired piece narrating how Henry VIII chose his fourth wife based on her photograph and the extreme lengths women go through to be deemed beautiful. Imagine Tinder but in Tudor England. The piece was fast-paced and sung in a stereotypical German accent. It carried, too, the funniest lyrics of the show. But what really made the performance stand out was its production. Anyone who's seen SIX would know that the lighting design was a paid actor throughout, but it's in this number where it really shines. With perfectly timed color changes and flashes, the stage lights take on a new, well, light as they mimic the interface of dating apps when it's time for Henry VIII to "swipe left or right" for his next wife. This moment solidifies SIX's image as a concert musical outside the typical two-part play.

Noni Buencamino Climbing a Tree in Balete

With many reruns in the booming theatre scene, it was refreshing to see new, original works like Tanghalang Pilipino’s Balete that took risks and ventured in unexplored territory. The devised theatre piece, based on National Artist for Literature F. Sionil Jose’s Tree from the Rosales Saga and adapted by Rody Vera into the tale of a haciendero’s son who grapples with guilt and atonement for the sins of his father within the oppressive feudal system, was a gripping and moving experience, achieved with innovative staging. It was fascinating for its carefully composed scenes which the artistic team turned into a gesamtkunstwerk deftly orchestrated by Director Chris Millado and Associate Director/Movement Director Delphine Buencamino. Multiple roles were negotiated effortlessly by an ensemble cast led by Noni Buencamino who made riveting, nuanced portrayals of the son both as a boy and an adult as well as that of the father.

In one of Noni’s scenes as a child, climbing up the balete tree, the tree was not on stage physically—but because of his acting, the movement design, sound and lighting design that cast shadows of branches as he ascended, we could feel and imagine the sense of wonder, and we were simply amazed how magic was created on stage with minimal sets and props and a lot of creativity and imagination.—Ricky Toledo and Chito Vijandre

The Thesis Defense in Bar Boys The Musical

Barefoot Theatre Collaborative's Bar Boys, the stage adaptation of the film by Kip F. Oebanda, follows the struggles of four law students as they find their place in a flawed justice system. Of course, this is done with songs and music composed by Myke Salomon working in tandem with Pat Valera for book & lyrics, which pushed the narrative and the issues to go beyond what the original film accomplished. Co-directing with Mikko Angeles, Valera together with his artistic team and cast, created a piece that sparked relevant conversations in the socio-political realm through incisive theatrical explorations.

One of the highlights is when the boys desperately defend their theses to Sheila Fernandez as Justice Hernandez, the “terror” of a professor, in a highly-charged classroom scene that was perfectly executed with music, singing and choreography bringing out the dread, the tension and the moment's sense of urgency.—Ricky Toledo and Chito Vijandre

Cyrano's Goodbye in Mula Sa Buwan

Mula Sa Buwan is easily one of the most beloved original Filipino musicals. It is a retelling of Cyrano de Bergerac done in a sarsuwela-esque, Kundiman-style performance during the 1940s. With several relatable plotlines about young love and embracing one's true self, suffice it to say there wasn't a shortage of heartwarming scenes in this musical about misfits, dreamers, and colegialas. 

This year, the Barefoot Theater Collective announced that this will be one of their last productions of the beloved play. Post-pandemic, Mula Sa Buwan found a solid audience and has been consistently slated for restagings and even a Proshot release in 2023. Hence, you just know this announcement saddened many fans, which is why the closing scene for 2024's Mula Sa Buwan staging hit hard.

The scene is charged as it is. It's always had everyone bawling. We're saying goodbye to Cyrano following a blow to the head and an unfortunate encounter with one of the many enemies he has amassed post-war. In true romantic fashion, he goes to his love, Roxane, one last time. Here, everything comes to light. Christian never wrote the letters Roxane fell in love with—it was Cyrano all this time. Unfortunately, the pair lost their chance to make it up to each other as Cyrano's time to return to the moon came, where all his fallen comrades received him. 

This finale came to life in the most majestic synergy of lights and set design by Ohm David and Meliton Roxas Jr.—a true feast for the eyes. But what's even more bittersweet about this goodbye was the fact that Gab Pangilinan and Myke Salomon were also saying goodbye to the roles. After almost perfecting their portrayals, the pair revealed this will be their last stint as Roxane and Cyrano. The curtain dropping on their final show felt like closing a significant chapter in Philippine theater.

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