By Brontë H. Lacsamana, Reporter
STAGING a beloved Filipino coming-of-age tale four decades after the original film came out could be considered a no-brainer in 2026, given how nostalgia is the big thing in different forms of storytelling today. Using the versatility of Philippine theater as a platform, the challenge now is presenting 1980s nostalgia with a refreshed perspective.
As Bagets the Musical opens this year, it’s important to note the interesting blend of creative groups that brought the show to life. It’s adapted by PETA Plus (the creative agency of the Philippine Educational Theater Association), produced by Viva Communications, Inc. (which produced the Bagets film in 1984), and helmed by Philstar Next (the Philstar Media Group’s entertainment arm*).
Put all of that together, and you have a musical that aims to recapture the spirit of Filipino youth — with the help of songs from the movie as well as other iconic 1980s hits — while giving audiences some nuggets of reflection to carry home from the show.
“We hope you’ll enjoy this because the kids worked hard during rehearsals. It’s a fun show and I hope you all enjoy it!” said director Maribel Legarda at the start of the open rehearsals on Jan. 21.
(As with all technical dress rehearsals, the show BusinessWorld saw was not yet fully polished, so there were a few mishaps with lighting. Otherwise, it was already mostly how it should be on opening night.)
“It’s not perfectly clean yet, but generally it’s complete and you’ll get a sense of what Bagets has become from its transition from the 1984 movie to the musical you’re going to see,” Ms. Legarda said.
A cute touch while the audience waits for the curtains to rise is the voiceover announcing the minutes left before the show starts — each one is recorded by a cast member announcing the time in character.
The musical opens by traveling back in time, as a large box television set projected on the screen in front takes us from 2026 newsbites to all the way back to the vibrant colors and sounds of 1984.
After that, the energy kicks off, as five young men — Topee, Tonton, Gilbert, Arnel, and Adie — cap off their third year in high school causing trouble as usual. Hilarious antics follow as they get kicked out of their school and launch into a series of adventures and misadventures both at home and in their new school, revealing complex family issues at the same time.
Tall, rolling set pieces were utilized cleverly, allowing us to glimpse each boy’s house in multiple scenes, while the mini car they used onstage was fun to see as it glided around.
While the timing of the lights with the music and dialogue was, indeed, a work-in-progress, the use of set pieces, props, and LED screens is exciting. It’s fun to watch a dynamic PETA Plus production on a stage as vast as the Newport Performing Arts Theater.
The five leads were played by Sam Shoaf, Milo Cruz, Noel Comia, Jr., Ethan David, and Andres Muhlach during the open rehearsals, and it was good to see that a shared chemistry was there.
Admittedly, there were some glaring pain points in terms of singing and dancing skills. Some of the performers take to the songs and choreography better than others, but the chemistry of the five as friends is undeniable.
Each brings something different to the table. Sam Shoaf has a magnetic presence as martial arts ace and athletic heartthrob Topee. Milo Cruz is a solid performer who can sing and bust out moves as he takes on daredevil Tonton. Noel Comia, Jr., stands out as an actor, able to bring out both the comic relief and endearing geek within Gilbert. Ethan David lends his beautiful voice to the role of well-mannered rich kid Arnel.
Andres Muhlach probably has the most pressure on him out of the bunch, having the least performing experience in the group and being inthe shadow of his father who originated the role of the baby-faced romantic Adie in the movie. Still, he perseveres through the songs and choreography, offering a singular charm to the role.
Altogether, the five make it work, amid understandable first-show jitters and timing issues. The other batch of leads — Jeff Moses, Migo Valid, Tomas Rodriguez, KD Estrada, and Mico Hendrix Chua — would be interesting to see, for a different take on the main barkada.
Finally, it would be remiss to talk about Bagets the Musical without giving kudos to the actors playing the moms. Thanks to director Ms. Legarda and writer J-mee Katanyag, a noticeable focus of the show is how mothers take care of their sons, expanding the glimpses we see in the original film.
The ermats are played splendidly by Neomi Gonzales, Natasha Cabrera, Mayen Cadd, Ring Antonio, and Carla Guevara Laforteza, each delivering the quirks and flaws that flesh out dimensions of the boys’ lives. They have their own journey growing up alongside their sons, in the context of working women becoming a norm in the 1980s.
Another cool element is seeing the machismo and youth culture that only make sense in that time period. While deemed inappropriate and politically incorrect in today’s milieu, it’s intriguing to witness these outdated aspects in a Bagets updated in 2026.
Most of all, Bagets the Musical leans heavily into the nostalgia, offering a fun time in the theater with hits like “Telefone (Long Distance Love Affair)” and “Wake Me Up Before You Go-Go” alongside iconic Bagets tunes “Growing Up” and “Just Got Lucky.” The entire ensemble really fills out the stage and brings their A-game each time.
The experience is a good one that both young and old can appreciate. There are even interactive portions that allow the audience to revel in the music and the youthful energy. While there are still things to fine-tune here and there, it’s a show worth checking out.
Bagets the Musical opens on Jan. 23 andruns until March at the Newport Performing Arts Theater, Pasay City. Tickets, ranging in price from P1,000 to P4,000, are now available at the Newport World Resorts Box Office and via TicketWorld.
*The Philstar Media Group is part of MediaQuest Holdings, Inc., as is BusinessWorld.