After the pandemic gradually receded, theatre company Philippine Educational Theater Association (PETA) came back to live theatre in 2023 with a staging of Walang Aray. 

No doubt about it, the musical marked the beginning of renewed energy in Philippine theatre.

Stuffed full with irreverent jokes from playwright Rody Vera and clever lyricism from Vince Lim, Walang Aray is a hysterical adaptation of Severino Reyes’ zarzuela Walang Sugat. The well-received musical eventually dominated the 2024 Gawad Buhay Awards, with victories in several categories such as best musical. 

The play is set around lovers Tenyong and Julia, amidst class conflict during a time of political revolution. 

In the two years that had passed, Philippine theatre has experienced a significant resurgence with the variety of plays produced. The sheer number of theatregoers also increased, as seen in the sold-out announcements of several plays. 

What remained constant though: undoubtedly one of Philippine theatre’s post-pandemic greats is Walang Aray, and this rerun proves it. 

Infectious enthusiasm

Walang Aray is the centerpiece of PETA’s 58th season, which in itself is anchored on the theme of ‘Love and Power.’ The play’s themes of love, hope, and nationalism are reinforced again by this reiteration’s sharper script. 

Led by transwoman Lance Reblando (whose inspired casting is a win for the transgender community), the cast’s enthusiasm was wholly infecting. Laughs from every section in the theatre were heard for much of the play. Reblando was assured and affecting as Julia, especially in the character’s more dramatic scenes. She solidified herself as a sincere performer who excels in both comedy and drama. 

The charisma Reblando brings is matched by the charm of Jolina Magdangal’s Juana, quirky mother of Julia. Despite being primarily a screen actress, Magdangal could have been mistaken for someone who has already been characterized as a theatre veteran. One may wish the play had more of Magdangal, yet she makes the most out of her scenes. 

Gio Gahol, who reprises his role of Tenyong, succeeds in emphasizing gravitas. While the play elicits whole-hearted laughter from the audiences, Gahol right then and there pulls audiences back into the seriousness of the matter. Again, the story is set during the Philippine revolution.

A comedic riot

Equally as great as the three were Kiki Baento as Monica and Ice Seguerra as Lucas. The two’s affinity for each other were convincing. Baento, who also reprised her role of Monica, was deliciously funny. Seguerra has stellar vocals, but his acting chops were equally impressive. 

Gie Onida as Tadeo, Johnnie Moran as Padre Alfaro, and Bene Manaois as Miguel also brought the house down with their performances. 

Forming the ensemble were Yeyin de la Cruz, Matel Patayon, Ada Tayao, MC Dela Cruz, Gerard Dy, and Jarred Jaicten. The ensemble, in theatre, has a difficult job; most plays rely on their respective ensembles to sustain itself. This difficulty was portrayed remarkably well for laughs in a specific number, where the ensemble was noticeably panting and strained from remaining frozen in motion. 

Walang Aray remains an a-laugh-a-minute riot successful in emphasizing that love is a radical act.

Hilariously sensational

Comedy has long proved its singular ability to play well to Filipino audiences. Not only does this make a trip to the theatre a good time though, but it also disarms, making audiences more aware about social change and the humanity we all have in ourselves. 

And because laughter lowers one’s defenses, social critiques gain sharper teeth. 

Rody Vera delivers on this. The jokes are aplenty, and some may find other bits funnier than others, but every bit delighted at least one person. Updating the script with references to current culture made all the difference. The nods and gags may be abundant, but they were all still in service of the story on hand.  

Sensational direction from Ian Segarra also did wonders for the balance between whimsy and critique. It’s one thing to have the actors just deliver gag after gag, but it’s another to sustain the energy without undermining the sharp satire. 

Julio Garcia’s set design was impressive as well. A staircase, which extended to the left side of the balcony, was particularly striking. Lights from David Esguerra were appropriate in amplifying the exaggerated comedy. The lovely work of costume designer Bonsai Cielo stand out; its fusion of the traditional and the contemporary helped enhance the musical’s festive feel.

Purposeful piece of Philippine theatre

The combination results in a production that never loses sight of its purpose: to entertain while provoking thought. It dazzles in form without sacrificing substance, and it delights without losing style.

Walang Aray satiated the hunger audiences had for live performance two years ago. When it premiered then, audiences were eager to be in a room again that makes magic happen. Its contemporary wit was then dearly appreciated. 

This rerun does it again, yet this time, it’s now also representative of how demand has expanded. With new audiences continuing to discover theatre, the resounding success of this play only points to new highs for Philippine theatre from now on.

Further information

Walang Aray is running from August 29 to October 12, 2025. Tickets are priced from PHP 1,200 to PHP 2,500, sold at either bit.ly/WA2025Tickets or bit.ly/WA2025TicketHub.

For complete cast schedules, please refer to bit.ly/WA2025CastSchedule.

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