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Manila Bulletin devider Entertainment devider Music and Concerts devider Resurrecting notes on Rizal, part II: A review of 'Ibarra…Ngayon'

Resurrecting notes on Rizal, part II: A review of 'Ibarra…Ngayon'

Published Jun 20, 2026 12:15 pm
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When first staged in 2023, "Ibarra," as directed by Frannie Zamora and produced by Tanghalang Una Obra, was hailed as a vibrant musical adaptation of Jose Rizal’s "Noli Me Tangere."

Flash forward to today, an updated, restaged version with Zamora still at the helm was mounted just the other night at the GSIS Theater.
So, my ‘notes’ in the title not only refers to notes on the novel by Rizal, but also the musical notes that Maestro Joed Balsamo has created with the score. With the book of Jomar Fleras, it’s good to note (that word again) how the libretto stays true to the original spirit of Rizal’s work.

If Piolo Pascual took on the title role in 2023, the energized 2026 iteration has Derrick Monasterio portraying Juan Crisostomo Ibarra.

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Providing invaluable support is Andrea Stevenson as Maria Clara de los Santos, along with an ensemble cast that shows much experience in essaying these classic roles. From Padre Damaso, Elias, Pilosopo Tasyo, and Sisa, to her sons Basilio and Crispin, Padre Bernardo Salvi, and Doña Victorina—they emerge from the pages penned by Rizal and come to glorious life on the stage.

The themes of the abuses of the Spanish clergy and colonial government, the tacit compliance by the rich and privileged Filipinos, the struggle of the marginalized, and the hope for redemption via education and/or armed struggle—these are all addressed in the course of the musical. The cancer that festers in society, the persecution, and how nationalism begins as a spark are part of the narrative and shed much light on so many of the issues we face to this day.

In fact, I mention the GSIS Theater, and the rehearsals and staging of this musical were very much affected by what was going on in the Senate over the last two months.

Rehearsals were cancelled, dates moved, and uncertainty ruled; I actually salute Frannie and the cast for mounting the show that I got to catch on June 18. A June 20 staging was announced, but beyond that, we’re still in a guessing game as to when the schedules of the various people involved will align.

It’s a fast-paced production, with so much of the novel kept intact, and the music is a mash-up of different genres. From the kundiman to disco, salsa, and metalcore, influences fly through the ether to entertain and keep our feet tapping. This dynamic quality keeps the aural landscape of the production fresh and engaging. And the performances are top-notch, with the singing very much to be praised.

Last year, I watched "Walang Aray," and it was very much driven by humor. In the case of "Ibarra …Ngayon," there’s a far more literal and serious tone taken. The shafts of humor that do exist, in both Rizal’s works and in this musical adaptation, seemed to be glossed over or ignored by the audience that watched with me on June 18. That’s a shame, as I believe much effort was placed on turning certain characters into objects of ridicule or as parodies of Filipinos who were trying to be more Spanish than the Spaniards who were stationed here.

This is a production that does deserve to be seen by a wider audience, so I am hoping that dates can be arranged, and appreciation for Monasterio’s stage performance can spread.

Related Tags

Ibarra Ngayon Philip Cu Unjieng Noli Me Tangere Jose Rizal Derrick Monasterio Frannie Zamora GSIS Theater Tanghalang Una Obra Joed Balsamo Jomar Fleras Philippine Theater Filipino Musical
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