It’s a strong cast of 23 performers (with a revolving door of celebrity guests at every performance), led by an alluring Caisa Borromeo as Shiela and an impressively erratic George Schulze as Berger.

“Tanghalang Pilipino brings back this American classic to serve as a warning and with Dennis Marasigan’s clear-eyed direction and Jerry Respeto’s lucid and potent translation, the message is quite clear.”

This production conflates nostalgia and the material’s core politics to create a fresh and arresting take on an old favorite.

Tony Mabesa directs both “Fathers & Sons” and the Jose F. Lacaba and Virgilio Almario translation, “Mga Ama, Mga Anak”, with a directness that allows Joaquin’s resonant words to bear new relevance decades after its writing.

David Ezra’s performance keeps the show from going completely off course. He is well-cast as our serious, straight-shooting hero. His magnetism, impressive singing, and sheer stamina was the sobering presence that anchors the audience back to why this musical exists in the first place: Aurelio.

Joey Mendoza’s office break room set was appropriately grubby. It’s not sterile or glossy, but lived-in almost, complete with flickering lights (lighting designer John Batalla)—the sort of place you would find a man like Ray.

The show makes use of Jerome Robbins’s original choreography, and primarily excelled at what it was being billed as: a dance musical.

“Joel Trinidad and Nicky Trivino co-direct this production with a clear understanding of the specificity, and has assembled a strong cast who are their own kind of triple threat: they act, they sing, and they’re hilarious.”