The 1980s, for many of those looking back, is a decade remembered for its delightful earworms, bright colors, and a pervasive sense of joy marked with the absence of anything to worry about. 

In short, it was a happy time. Easygoing, light, and fun. 

As a result, it’s no wonder that Bagets the Musical, the stage adaptation of the film of the same name, is also easygoing, light, and fun. 

True theatrical spectacle

Despite the turbulence of growing up, there was no doubt that life as it is was much more pleasant. Largely, what was only there to worry about was fitting in. 

This fundamental way of life was understood by playwright J-mee Katanyag, whose book is anchored on the growing pains and the fluff that lessens its blow. But that does not mean Katanyag strips the adaptation of any thematic heft, which is still very much present (albeit from the lens of adolescence) despite its enthusiastic presentation.

For instance, a subplot tying circumcision to one’s fuller sense of masculinity elicits the laughs, but the worry and guilt it raises soon follows. In a striking sequence accompanied with the song Silent Night, household problems pushed (and literally spun on-stage) to the forefront exhibit the pains that mark our coming-of-age in noteworthy fashion.

Katanyag’s book highlights the women in a way that feels right, not gimmicky. Katanyag also goes to provide its five leading men showcases of talent, which in turn becomes showstoppers whenever the musical numbers call for the ensemble’s appearances.

Yet despite the slice-of-life nature of Bagets the Musical, the spectacle is very much present. And as a result, it is never boring.

Physicality and presence of the Bagets

Living up to the physical demands of the musical, the five leading men deliver in spades. 

However, as the one most primed for the spotlight, the Adie performed by Andres Muhlach (alternating with Mico Chua) feels lacking in regards to interiority and humanity. 

The character has several scenes to work with, yet Muhlach’s acting choices never coalesce into a character that you can find yourself rooting hard for. Nonetheless, Muhlach does not lack in presence, and he still finds a way to make Adie feel like someone his friends can count on.

Milo Cruz (alternating with Migo Valid) is endlessly watchable as Tonton. Cruz adeptly toes the line between grace and recklessness, and it’s Cruz that one’s eyes tend to gravitate towards in the ensemble-dominated numbers. 

Arnel is remarkably charming, thanks to KD Estrada (alternating with Ethan David) who makes the character another  clear standout among the sea of performers on the stage. Estrada is also wholly believable in selling his character’s conservatism and the like. 

Jeff Moses (alternating with Sam Shoaf) is endearing as Topee, and the character’s aloof nature that Moses acts so wonderfully makes for an entertaining watch. 

But while the material does demand it, the sheer physicality and sheer charisma that Tomas Rodriguez (alternating with Noel Comia Jr.) infuses into Gilbert is one that gets the audience truly enamored with what’s happening on stage. The character is the one that feels like a definitive standout, and Rodriguez plays into this with an earnest quality that gets the audience roaring with laughter and excitement.

Vibrant characters

Katanyag also fully understands that a part of growing up is the unconditional support of our mom. 

This is easily apparent in the musical, but the moms, played by Neomi Gonzales, Kakai Bautista & Natasha Cabrera, Mayen Cadd, Ring Antonio, and Carla Guevara-Laforteza, breathe so much life into this work that one cannot help but miss them whenever their scenes end.

Further developing the moms in the book does so much in underscoring the role a mom plays in our life. It is also a reflection of contemporary times, and how far society has progressed.

Aside from being comic relief, these actresses dole out supporting turns that add nuance to the Bagets’ dilemmas, may it be internal or external. 

Gie Onida, playing all five dads of the Bagets, who succeeds in drawing stunned laughter from the audiences with his quick costume changes and fast adjustments to physicality. 

The ensemble also heavily contributes to the vibrance of this musical with their abundantly available physical and vocal energies. Never a mishap or a mistake in the musical’s 2hr 55m runtime (with a 15-minute intermission), the ensemble deserves tons and tons of flowers.

Awe-inspiring spectacle

The theatrical spectacle Bagets the Musical provides is fitting for the Newport Performing Arts Theater. It is mostly unparalleled, thanks especially to the deft direction of Maribel Legarda. 

Under the musical direction of Vince Lim, the musical successfully transports its audiences to the 1980s with an array of songs from the decade. Never does it ever feel shoehorned nor unnatural. These songs, such as the clever spin on Just Got Lucky, guide audiences into a nostalgia-tinged spectacle.

However, the real magic of this production’s dynamo is in the hands of the, well, stagehands, who rotate and spin the awe-inspiring five-house set of scenic designer Ohm David. Serving also as props designer, the car that the Bagets drive also induced feelings of worry on whether it was going to crash, but thankfully it did not. 

This spinning five-house set, which is also marked by inviting lights from Jonjon Villareal, is awe-inspiring in the sense that it is where theatre magic really does come into play. Its intertwined nature would make for a perfect talking point in a workshop or masterclass for set design.  

Costumes by Hershee Tantiado are nothing short of amazing. The patterns, colors, and textures really do play into audiences’ memories of what the 1980s were: fun and colorful. Yet despite this time-specific setting, the work of choreographer JM Cabling refreshingly feels both timeless and time-specific. This choreography, however, dazzles with verve. 

Delivers with thrills

Growing up is an uncomfortable time for most, but the musical affirms that it can be just as colorful and energetic as any other time.

And for a musical that’s about growing up during a period that has been endlessly subjected to nostalgia, Bagets the Musical really does deliver on expectations with its entertaining, endless thrills. 

Further information

Bagets the Musical runs from January 2026 to March 2026 at the Newport Performing Arts Theater. Tickets cost PHP 1000 to PHP 4000. Tickets are available through Ticketworld, Ticket2Me, or via Newport World Resorts.

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