Inside the Audition Room: Staging “A Chorus Line” in Today’s Rehearsal Culture

Inside the Audition Room: Staging “A Chorus Line” in Today’s Rehearsal Culture

Rehearsals are underway for Theater Group Asia’s (TGA) upcoming production of A Chorus Line, a show about a group of dancers all vying for a coveted spot in the ensemble for an upcoming production. It’s a familiar journey for many in the theater industry and many of the struggles portrayed on the show remain relevant even more than five decades after A Chorus Line was first staged.

TheaterFansManila.com had the opportunity for a rare visit to the TGA rehearsal room to witness how the artists were bringing the show to life and putting a unique, 2026 spin on the 1975 Pulitzer-prize winning piece.

There was an indescribable energy in the air as the various performers arrived at the Samsung Performing Arts theater to do their stretches and vocal warm-ups. Every member of this cast had experienced being in grueling and extensive auditions not unlike their characters in the show. More than most shows, A Chorus Line features the lived experiences of every aspiring theater performer as it accurately portrays their complex and fascinating journeys from behind the curtains.

Life imitating art

Several cast members shared their insights on how the audition process has evolved throughout their careers and how this is reflected in this particular production of the musical. Many felt that the auditions for this show even mirrored the experiences of their characters. “I Hope I Get It” was not just a song but something they had all truly survived, perfectly capturing the nervousness, the hope, and the vulnerability every auditionee feels.

“There were moments in rehearsal where the room felt very much like the world of the show — artists with all different backgrounds and personalities sharing their fears, their hopes, and the reasons they keep going. When you spend hours exploring material that personal, the line between performer and character can blur in a really powerful way. It created a rehearsal environment that felt supportive, honest, and deeply human,” shares Lissa de Guzman, who plays Cassie.

“There’s something wildly exposing about auditioning for A Chorus Line,” shares Jordan Andrews, who plays Al Deluca. “You’re not hiding behind a character or a costume, you’re standing there saying, ‘Here’s my talent. Here’s my trauma. Also, here’s my double pirouette.’”

“Compared to other auditions I’ve done, which sometimes feel quick and transactional, this one felt deeply personal and immersive,” shares Luca Olbes who plays Gregory Gardner. “It wasn’t just about technique or performance quality but about who we were as artists and collaborators.”

Creating a safe space in the audition room

A Chorus Line takes place in the audition room. As today’s theater industry becomes more conscious of rehearsal-room ethics, mental health, and performer safety, TGA’s production presents a compelling case.

The show’s director and choreographer, Emmy Award-winner Karla Puno Garcia shares that the audition process portrayed in the show was already atypical because it involved the performers being vulnerable and sharing their personal stories as well as showcasing their dancing prowess. She talks about how people are more conscious of performers’ wellbeing these days.

“Now we’re in 2026, we’re being a lot more mindful of each other’s space, of each other’s wellness. I mean, you can see all the [face] masks that are being worn, you know, the physical health, especially, just to make sure that we’re all well for the process. But on top of that, I think a lot of this show is dependent on how we are feeling as humans, and where we are emotionally. And so, you know, I’ve been trying to create space where people feel comfortable, to communicate how they are feeling in the process…”

She also marvels at the richness of the cast in terms of the variety of experience and also their different connections to being Filipino. It is from this diversity that she feels that they can bring new life into the musical.

“It’s not only important for us to cultivate healthy mindset emotionally for the process, but also the art, you know, it’s adding so much to their performance. It’s grounding them. It’s allowing me to play and discover new things in my direction. So, I think that is so meta when it comes to the show, and something that I think is honoring the original process.”

Brie Chappell who plays Val Clark, talked about how the audition for this production became a way for them to build a sense of community that comes from being Filipino artists. It felt less like cold competition but a way of fostering camaraderie among fellow artists. “Of course, we all wanted the job, but it genuinely felt like we were rooting for one another too. When I found out I booked A Chorus Line, I was excited not just for myself but also thrilled knowing I’d get to spend two months working with such an incredible group of people.”

Iya Villanueva who plays Maggie Winslow, shares that the show reflects their daily lives as performers. “Everyone wants to do good and be good. Nobody wants to bring any part of the show down. But it’s never tense either. It’s like everyone is just at the same level of desire to make sure this show is the best it can be.”

Several members of the cast agreed that performing this piece well required a tremendous level of trust. Trust in their fellow cast mates and trust that the audience will connect with the vulnerability being portrayed on stage. 

“The show asks you to be emotionally open to sharing parts of yourself and your history that are deeply personal,” Universe Ramos who plays Paul San Marco, shares, “Having that belief in those around you to support you and meet your honesty with care is crucial for a show such as A Chorus Line. Additionally, trust in the creative team to guide you safely through that vulnerability is vital, it becomes much easier to be fully present onstage and tell the story truthfully, knowing you’re not doing it alone but with a group of people who are all driven by the same love for our craft and a shared commitment to telling an important narrative as honestly as possible.”

Ramos adds that the goal isn’t to be perfect or flawless, but instead to be truthful in their performance. 

“You have to feel safe enough to be vulnerable, to take emotional risks, and to share parts of yourself that aren’t always easy to show,” shares de Guzman, “It takes every single person who enters into that room to contribute to that safe environment. When that trust is there, it allows everyone to be more truthful, which ultimately makes the storytelling much more impactful for the audience.”

Balancing personal drama and authentic performance

A pivotal moment in the musical is the confrontation between Cassie and Zach, who share some history with each other. This was also one of the scenes being rehearsed when TheaterFansManila.com was able to visit.

 

The tension created by this development begs the question of how much an artist should be able to pull from their personal experience in order to deliver an authentic performance and to be relatable to the audience and how much they need to hold back so as not to let their emotional baggage derail their performance. It’s a tricky balancing act, as acknowledged by Lissa de Guzman, who plays Cassie.

“People are very, very, very attracted to authenticity, people who know themselves, who are grounded,” shares de Guzman. “Those are the people who want to ask more questions about, or be in a room about, or call back, or want to get to know more. But then there is such a balance to leaving the drama or the stuff that should be left, because the people you want when you’re creating a musical, we do want to work with the people who are going to help solve the problems or bring new perspectives or bring a new character to the to the mold. It is vital to bring one’s authenticity and realness and real person to the audition room. That being said, you shouldn’t necessarily bring the relationship drama.”

Conrad Ricamora, who plays Zach, also talks about his role as the director who tries to tap into people’s deep emotions and experiences to help them grow as performers but without overwhelming them with reliving their past trauma.

“I think that as a director, sometimes that trauma, early trauma, gives you this access to a huge wealth of emotions and feelings, but you have to know how to control it and direct it so that it doesn’t consume you, like people like Amy Winehouse and John Philip Seymour Hoffman. And I think that Zach is doing that in order to try to not only get this out of Paul to be like: You have a lot of humanity to offer on a stage. But I also need to know that it’s not going to wreck this whole process, and like your energy is not going to take over the whole process.”

What We Do For Love

As opening night draws near, TheaterFansManila.com asked some of the cast members what they hope the audiences can take away from this new production of the iconic musical. Creating a safe space for people to give truthful and impactful performances has made the message of the show more powerful than ever. More than giving people a glimpse into the trials and triumphs experienced by artists behind the curtain, A Chorus Line is essentially about people chasing their dreams and doing everything they can because they love what they do. 

“At the end of the day, we’re not just playing dancers. We’re playing people who refused to quit,” says Andrews.

“I truly believe that this show will resonate with anyone who has ever fought for something in their life. At its core, it’s about longing, rejection, perseverance, and identity,” says Ramos.

So, here’s to the show for dreamers who “won’t forget, can’t regret” what they did for love!

A Chorus Line will run from March 12 to 29, 2026. Thursday and Friday shows are at 7:30 PM, while Saturday and Sunday shows are at 2:00 PM and 7:30 PM. Tickets are available through TicketWorld, with prices ranging from P900 to P5,500.