Gab Pangilinan Takes the Robe in “Jesus Christ Superstar”
The Filipina theater staple will embody Mary Magdalene in the Olivier-winning global tour at Solaire.
Words Randolf Maala-Resueño
Photos courtesy of GMG Productions
March 02, 2026
The first electric chord slices through the dark. The chorus gathers. The story begins not with serenity, but with unrest.
This May 2 to 31, the Olivier Award-winning production of Jesus Christ Superstar arrives at The Theatre at Solaire in Manila as part of its international tour.
Originally conceived as a concept album in 1970, with music by Andrew Lloyd Webber and lyrics by Tim Rice, the rock opera reshaped musical theater. It was bold, electric, and human. It asked audiences to see the Passion through the eyes of Judas. It dared to let doubt sing.
Jack Hopewell and the company of the North American Tour of Jesus Christ Superstar. Photo by Evan Zimmerman for MurphyMade
However, this Manila season carries a resonance of its own. Because at its heart stands Gab Pangilinan as Mary Magdalene. And truly, her presence transforms the moment into something both global and deeply Filipino.
Reimagined at Regent's Park Open Air Theatre and winner of the 2017 Olivier Award for Best Musical Revival, this production is known for its muscular choreography, stark design, and unrelenting energy.
The North American Tour company of Jesus Christ Superstar. Photo by Evan Zimmerman for MurphyMade
The narrative is sung entirely through. The emotions are immediate. Songs such as “Gethsemane,” “Superstar,” and “I Don’t Know How to Love Him” demand vulnerability as much as vocal power.
Then Mary steps forward
Because in this retelling, she transcends ornamentality. She is tender and conflicted, steadfast yet uncertain. She becomes the still point in a storm of prophecy and betrayal. And so, when Gab sings, the spectacle quiets. The theater listens.
Her casting signals Filipino excellence on an international platform. A three-time Philstage Gawad Buhay nominee and Asian Television Award winner, Pangilinan has shaped a decade of theater work in Manila through leading and ensemble performances alike.
Yet here, she joins a principal company that has toured the UK, North America, and Australia. She stands shoulder to shoulder with global counterparts, not as a guest, but as an equal.
Moreover, there is poetry in this rock opera unfolding in the Philippines, a nation steeped in Holy Week ritual and Catholic iconography. Jesus Christ Superstar has always stirred conversation. It humanizes saints. It questions certainty. It frames faith as something wrestled with, not merely received.
Faith Jones in the North American Tour of Jesus Christ Superstar. Photo by Evan Zimmerman for MurphyMade
And perhaps that is why this moment matters.
Presented by GMG Productions, whose history includes mounting Hamilton in Manila and hosting the world tour of Les Misérables, the production’s extended run reflects undeniable anticipation. The season now closes on May 31, 2026—no further extensions.
So yes, this is a global phenomenon. Yes, it is a celebrated revival. But it is also something more intimate.
A Filipina artist stands beneath the lights. A story known across decades begins again. And in the swell of music and movement, Philippine theater claims its place within a world stage that feels, at last, like home.
Join the reckoning and learn more of the Jesus Christ Superstar’s Manila production here.
