Stepping foot into the Tanghalang Ignacio Gimenez always feels like bearing witness to a showcase of theatre excellence. Gregoria Lakambini, a new production by national theatre company Tanghalang Pilipino, is no different.

Telling the life of Gregoria de Jesus through the lens of a Philippine pop girl group, Gregoria Lakambini is an enthusiastic affirmation of Philippine theatre’s bright and promising future. 

Utilizing the concept of the P-pop girl group is a creative risk, but it delivered in spades for Tanghalang Pilipino.

Magdalo at Magdiwang

Unabashedly feminist, participative in a way that inspires patriotism, the musical succeeds in rousing energy from its audience. 

The Lakambini is a larger-than-life figure in this musical. Women now finally occupy space, even in history. This depiction should also be empowering to most of its audience, if not all. 

At the center of it all is Marynor Madamesila, who rises up to the challenge with unmatched vigor and unparalleled presence.

Madamesila is simply a powerhouse. Her vocals are obviously excellent, but what is commendable about her performance is her singular ability to have a complete, rock-solid grasp on the audience. She compels, she amazes. 

Madamesila goes through a swath of emotions, which she convincingly and skillfully portrays throughout the one-act show’s 1hr 50m runtime. 

Her ensemble – Anya Evangelista, Sarah Monay,  Heart Puyong, Ynna Rafa, Sofia Sacaguing, and Murline Uddin – also take on daunting tasks. 

Switching between several costumes and various characters, and yet never losing the audience at all, the dynamic ensemble succeeds in eliciting laughter and prompting reflection.

Kakambal na Tala

Chock-full with feminist bops by Nica del Rosario and Matthew Chang, the soundtrack does not feel out of place, if it was released as a P-pop album detached from musical theatre. The musicality of it all is wholly clever and inspiring, in the sense that one feels inspired to create art as well. 

However, mic issues tended to hamper the captivating vocals and the clever wordplay. 

Assuredly buoyant direction from Delphine Buencamino ensured that the Lakambini is understood and seen as a towering figure. 

Costumes from Marco Viaña accentuated the storytelling so wonderfully; its pairing of historical silhouttes and contemporary elements give distinct character to the musical, without sacrificing dynamism and swift costume changes.

The book by Nicanor Tiongson and Eljay Castro Deldoc competently fulfilled its mission of having the Lakambini be remembered by younger audiences. 

Bon Appetit, Heneral

While viewers looking for a deep dive into the Lakambini may leave the theatre wanting more, the musical’s zips from moment to moment, landmark to landmark prove to be wholly enlightening for audiences looking into learning more about the Lakambini. 

Gregoria Lakambini simply oozes with extreme enthusiasm throughout. Through song and dance, reenactments of the highs and the lows delight and inform. 

Having its ensemble deliver retrospective analyses may prove to be too on-your-nose for some, but what could have been a daunting history lesson becomes even more approachable and digestible. 

Its unsubtle approach, coupled with the production’s ultimate reverence for the Lakambini, ultimately make the message land clearer and harder. Never does it ever feel pandering, preachy, or patronizing. 

This, in turn, creates a musical that resonates and inspires, long after the encore ends.

Further Information

Gregoria Lakambini will run from November 14 to December 14, 2025 at the Tanghalang Ignacio Gimenez, CCP Complex.

Tickets are available via direct selling through https://bit.ly/GregoriaLakambiniDirectSelling, through Ticketworld via https://bit.ly/GregoriaLakambiniTicketWorld, or Ticket2Me via https://bit.ly/GregoriaLakambiniTicket2Me.

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