A Chorus Line: One Singular Sensation

A review of Theatre Group Asia’s staging of A Chorus Line.

Words Jewel Chuaunsu
Photos courtesy of Theatre Group Asia
March 17, 2026

In most musicals, the chorus or ensemble tends to be overlooked. They are there to make the star look good—to frame the lead performer and serve as the background. A Chorus Line flips that idea. It is one of the first musicals to put the spotlight squarely on the chorus itself.

Conceived and originally directed and choreographed by Michael Bennett, the musical grew out of taped interviews and workshop sessions with real-life Broadway dancers. Bennett asked them about their personal and professional lives, and their stories became the foundation of the show. Because of this process, the characters feel authentic and lived-in.

From the “I Hope I Get It” performance

Now celebrating its 50th anniversary since premiering at the Shubert Theatre on Broadway in 1975, A Chorus Line is recognized as a landmark in musical theater. It received major honors, including multiple Tony Awards, Drama Desk Awards, and the Pulitzer Prize for Drama.

When you see Theatre Group Asia’s staging of A Chorus Line, you’ll understand why it remains a lasting work of art.

It takes dancers to fully realize the vision of A Chorus Line, led here by director and choreographer Karla Puno Garcia. Because the show itself originated from the experiences of real dancers, the performers are able to bring parts of their own journeys into these roles, adding layers of authenticity.

The musical takes audiences behind the curtain. The story begins with an audition, where the director Zach (Conrad Ricamora) interviews dancers competing for a place in the chorus line. Instead of simply watching them perform, Zach asks them to dig deeper and reveal who they are beyond their résumés.

At first, they hesitate. Gradually, they open up about their childhoods, their struggles as professional dancers, and what drew them to dance in the first place. The audition begins to feel almost like a group therapy session. The dancers are not just performing the choreography, but also trying to win over the director with their personality. Beneath their charm and confidence is a shared inner monologue: I hope I get it.

From the opening performance

The story unfolds through dance as they learn and perform routines together, eventually moving in perfect sync. The ensemble delivers dazzling performances of the musical’s iconic numbers—from “I Hope I Get It,” by turns high-spirited and hopeful; to “Hello Twelve, Hello Thirteen, Hello Love,” a delightful montage about growing up; to the rousing “One,” reprised in the showstopping finale.

Playing the formidable Zach with authority and surprising vulnerability, Ricamora anchors the production. Individual cast members also get their moment to shine. “At the Ballet” is a poignant ballad sung beautifully by Mikaela Regis, Michaela Marfori, and Iya Villanueva, who portray Sheila Bryant, Bebe Benzenheimer, and Maggie Winslow, respectively. Lissa de Guzman brings the house down as Cassie during her solo, “The Music and the Mirror.” Christina Glur breaks your heart as Diana Morales in the bittersweet number, “What I Did for Love.”

With set design by Miguel Urbino and lighting design by Cha See, the production uses lights and mirrors to striking effect. These design elements help set the tone and bring the audience into the dancers’ world—both the physical rehearsal space and their state of mind.

The show also explores the hierarchy of Broadway. Chorus members are often seen as a step below the lead, meant to support the star while remaining invisible. A Chorus Line pushes back against that bias by revealing the humanity and individuality within the ensemble. They share the same challenges—temporary gigs, brutal auditions, and grueling rehearsals. Their careers depend on their bodies, which inevitably wear down. What happens if they can no longer dance?

From the “What I Did For Love” Performance

They pursue their art despite it all. They do it for love.

What a thrill and pleasure it is to witness the power of live performance in A Chorus Line. The performers are true triple threats, singing, dancing, and acting all at once. They leave everything on stage: blood, sweat, tears, and a lot of heart.

Performances run from March 12 to 29, 2026 at the Samsung Performing Arts Theater in Circuit Makati, with shows scheduled on Thursdays and Fridays at 7:30 p.m., and on Saturdays and Sundays at 2:00 p.m. and 7:30 p.m. Tickets are available via TicketWorld, priced from ₱900 to ₱5,500.