Apolinario Mabini has incapacitated legs. One would be inclined to think that paralysis is enough of a hindrance to living life, let alone being resilient in the face of political turmoil. But despite all odds, he earned the nickname of ‘sublime paralytic,’ as he had been a revolutionary leader whose efforts for the Philippines are felt up to this day. This sublime quality is attributed to his firm determination, and his unwavering belief in the Filipino people being worth the battle.

Tanghalang Pilipino classic ‘Mabining Mandirigma’ gives way to a lot of learnings and realizations. Its relevance has only grown in the wake of division and corruption. This 2026 staging marks the fifth time that the theatre company has done ‘Mabining Mandirigma.’ It is timely and timeless. Timely in the sense of director Chris Millado’s decision to convey the ills of the present times amid the historical drama, and timeless in the sense that the viewer can see how traces of Mabini’s ideals continue to live on in today’s politics.

This work by Nicanor Tiongson is dense in ideas and introspections. However, it is brisk, in the sense that it never overwhelms the audience with all its complexity. It is a musical that, thanks to Millado’s direction, balances entertainment and enlightenment well. 

Realization of the material’s scope

The musical dons a steampunk skin. At first glance, Toym Imao’s production design seems mismatched with Joed Balsamo’s blend of traditional and modern music. But in line with the work’s themes of progress and conviction, the gears dominating the background assist in conveying these themes well. The turning of gears signal towards viewers the importance of moving forward, head high, in spite of political adversity. 

‘Mabining Mandirigma’ realizes steampunk with incredible detail to success. Down to the period and contemporary costumes by James Reyes, the work’s employment of steampunk largely works because it is committed to doing so. Narrative-wise, it also lives up to the science fiction subgenre. ‘Mabining Mandirigma’ depicts an optimistic view of the Philippines, in the sense that it believes in the Filipino people.

The playful choreography of Denisa Reyes and Richardson Yadao shines best with numbers that involve several people. Their choreography is relatively simple, but it is a full realization of the musical’s massive scope. The way Reyes and Yadao recognize the top-notch cast’s individual strengths through dance makes for an engrossing experience.

Adding to the experience is the projections of GA Fallarme and JM Jimenez. Not only does it execute the massive scope in a streamlined manner, but it also goes to effectively underscore how much we had progressed or remained static as a Filipino people. Sufficient lighting by Roman Cruz emphasizes this, as the lighting design succeeds in conjuring the allure of the whole work.

Sound by TJ Ramos gives Balsamo’s music a richer life. In turn, the musical experience at the black box becomes more fuller. Particular standouts include the numbers of the Ilustrados (wonderful, lively performances from MC Dela Cruz, Roby Malubay, Jonathan Tadioan, and Marco Viaña). 

Authentic, remarkable acting 

While the primary focus is Mabini, the musical also serves as a panorama of the Philippines itself. This is evident in the Tanghalang Pilipino mainstays and amazing actors that make up ‘Mabining Mandirigma.’ 

The musical boasts a cast with individual verve whose combined presence really sells the scale of Tiongson’s ambition. The vigorous ensemble, composed of Ynna Rafa, Earvin Estioco, Lhorvie Nuevo-Tadioan, Mark Lorenz, Anya Evangelista, Sarah Monay, Rey Correjado, Heart Puyong, Murline Uddin, and Sofia Sacaguing, serves as faces to the several ideas and experiences from the country back then. These faces put an emphasis on the collective. On the idea that the revolution is not just the work of one individual, but of the Filipino people. 

Gelo Molina, serving as ensemble and also as Pepe, brings out the emotional current of ‘Mabining Mandirigma.’ His competent and convincing performance assists in the fulfillment of Tiongson’s vision. The same applies to Tex Ordoñez-De Leon, whose Dionisia reveals the humanity of this work. Her performance’s authenticity infuses the musical with its humanity. It is easy for a revolutionary to be seen as a personified representation of the Filipino people’s desires, but a revolutionary is just as human as everyone else. More importantly, they are able to stand strong because of the people who have lifted them up. 

In all stagings of ‘Mabining Mandirigma,’ a female has always been the actor for Mabini himself. This choice may be jarring or worrying for some, but this staging proves again that the intellect and principles Mabini has is not innate in only men. In line with Mabini’s paralysis resulting in him being a member of the ‘others,’ the musical goes to show that the women, who have been no stranger to being ‘othered’ as well, are also capable of reclaiming that status. Contrary with what others would believe, a woman can also have the intellect and principle required from a revolutionary.

Shaira Opsimar demonstrates this. Her performance as Mabini enthralls the viewer. Simply remarkable, her performance proved to be dominating and devoted. And gripping, as Mabini goes through a swath of emotions and experiences. David Ezra’s all-commanding presence matches that of Opsimar. Ezra’s embattled Emilio Aguinaldo brings gravitas to the musical.

Believing in ourselves

‘Mabining Mandirigma’ is on its fifth staging in 2026. And yet, it has proven its importance once again. The country has always had politicians who are in politics for their own personal gain. However, it is now rife with greater corruption scandals and larger disinformation campaigns. In short, everything that is happening in the present day can rob someone of their hope. Of their belief that the Philippines can get better.

As it goes to show in its breaking-the-fourth-wall ending, what happened then continues to happen now. Yet there is still power in fighting for what you believe in, especially if this power is collective. With the help of the Filipino people, ‘Mabining Mandirigma’ shows that Mabini himself was able to establish the foundation of the Philippines. It seemed impossible, but they were able to do it. And if they can do it, what’s stopping us now?

Further information

‘Mabining Mandirigma’ is the third and last production of Tanghalang Pilipino’s 39th season. It ran from March 6 to March 29, 2026, at the Tanghalang Ignacio Gimenez, CCP Complex.

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