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Just like the crossing between realms, this sequel takes its audience to a stylistically-different dimension.

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 power of this ballet lies in its choreography. Francisco successfully weaved  patterns, created levels, and crafted sequences that were visually exciting.”

“Ballet Philippines’ season opener, ‘A Gala Celebration’, was a tribute to dance itself, in its purest form, and as an expression and extension of the dancer.”

“Playwright J-mee Katanyag makes a witty spin-off of children’s stories into a new narrative.”

“This Joy Virata-helmed production is thoroughly delightful with its lovely (and sometimes hilarious) music by Michael Valenti and lyrics by Elsa Rael.”