With a run at the PETA-PHINMA Theater that lasts until Oct. 12, you have no excuse for not catching this wonderful third iteration of "Walang Aray!"

Jun Reyes, founder of Indie Go Media and legendary commercial director, first commissioned playwright Rody Vera to modify and make ‘hip’ the original classic zarzuela Walang Sugat, which was written by Jun’s great-grandfather, Severino Reyes. Conceptualized as a screenplay in 2007, PETA suggested adapting it for the stage in 2018, with the addition of original music by Vince Lim. Directed by Ian Segarra, Walang Aray returns after a highly acclaimed 2023 run, with tweaks here and there, from casting choices to additional topical lines, that make this a fresh and vibrant viewing experience.

I have enjoyed Into the Woods, am ready to watch The Bodyguard, but as a Filipino, you really owe it to yourself to make Walang Aray your must-watch. And I’m saying this in the context of being Filipino, and not just because you’re a Filipino theater fan. It’s Philippine history, it’s issues of the present day, it’s side-splitting comedy, it’s brilliant music, it’s teleserye country, it’s constant breaking of the 4th wall, and pithy satire - all couched under the guise of an updating of the zarzuela genre. There’s genuine alchemy in how Vera’s book is merged with Lim’s songs and sifted through Segarra’s deft directing, conjuring up these magical two and a half hours of sheer theatrical havoc and fun!

With most of the action set in a late 19th-century Manila theater where the zarzuelas would have been staged, our main protagonists are the singing star Julia and the man who is courting her, Tenyong. Then there’s Julia’s mother, Juana - the stage mother from Hell; and there are Monica and Lucas, the help of Julia and Tenyong. Other main characters include the rich theater benefactor Tadeo, with his shifty son, Miguel; and the shadowy Padre Alfaro, a villainous Friar. The different locations have connections to the impending Revolution, and are where the Katipuneros would congregate.

So, yes, if you want to call this our Hamilton, I’m not going to argue with you as long as it gets people to rush and get their tickets. Besides, it’s so much funnier than Hamilton, and there are actually more memorable songs. Lim successfully explores pop, the blues, rap, and ballads in the course of this musical. And you’ll love how, in true PETA fashion, there are no ‘sacred cows’ in the book's attack - jibes at the Church and Governor are expected. Still, Vera also pokes fun at his own heroes and their foibles, as well as questioning the Katipuneros and their motivation and resolve. Wonderful to see everyone being satirized.

On the night I watched, the performers were a shout-out to inclusivity and trans-presence. Lance Reblando took on the role of Julia, while Ice Seguerra was Lucas. Jolina Magdangal portrayed Juana, Gio Gahol was Tenyong; and with Roi Galilong as Padre Alfaro and Bene Manaois as Miguel, there were more precious comedic moments than there are stars in heaven.

I watched with some friends from the French Embassy, and thanks to the subtitles flashed on two discreet screens, they could follow the action and storyline. It was their first experience of Filipino musical comedy, and they loved the energy, the singing, the breaking of the 4th wall, and the political overtones. They weren’t getting all the jokes, conscious that others were laughing around them when throw away lines referring to sabungeros and flood control were uttered; but they were all smiles when we left the theater.

To be critical, the second half doesn’t work as well as the first half, and there is the classic quandary of a somewhat abrupt resolution to bring things to a close - but these are very minor qualms. By and large, this is a theater experience that we should all enjoy and spread the word about. Original Filipino material, a musical that works, and satire that succeeds - it’s guaranteed fun, and given the current state of the world, we deserve the break.