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In September 2024, at the curtain call of its adaptation of the musical Once on This Island, 9 Works Theatrical announced that the theater company is gearing up for Liwanag sa Dilim, an original Filipino musical spotlighting the discography of Rico Blanco, particularly during his time as the frontman of local rock band Rivermaya.
The material for the staging, written and directed by 9 Works Theatrical’s artistic director Robbie Guevara, was completed sometime in 2019, with the official run originally set to begin in August 2020. The global pandemic, though, halted all plans and preparations for the show.
It was also around 2020 when Blanco, who was part of Rivermaya from 1994 until 2007 and has since gone solo, released a “quarantine version” of the titular track, raising funds for COVID-19 frontliners. Such an act is only fitting for an artist whose music evokes an “essence of hope, resilience, and love,” which the staging is trying to replicate.
“It’s been quite the journey and it’s actually still evolving,” Guevara, who is also known for the acclaimed adaptations of Grease, Tick, Tick… Boom!, and RENT, says of the musical’s gestation period.
“Just today, we did some polishing on the script to make it tighter and fuller,” he continues. “The cast’s contributions, as well as the ones from my artistic team, are well-considered and actually integrated. It’s a lot of fun despite the challenges!”
The lead cast of ‘Liwanag sa Dilim.’ Photo courtesy of 9 Works Theatrical
Headlining the staging, set to open on March 7, are Khalil Ramos, Anthony Rosaldo, Alexa Ilacad, Nicole Omillo, CJ Navato, and Vien King.
“Now, a year and a half after my theater debut, I’m thrilled to return to the stage — this time with an incredible ensemble cast who have been such a joy to work with so far,” says Ramos, who already worked with Guevara in Tick, Tick… Boom!, in an interview with ABS-CBN News.
The cast also includes Rita Daniela, Neomi Gonzales, Arnel Carrion, Jon Abella, Raul Montesa, Rica Laguardia, Lani Ligot, and Jasper John Jimenez, among others.
Apart from Guevara, Jonjon Martin and Mio Infante also worked on the staging’s story, while Orlando Dela Cruz steered the musical arrangements.
Here, I spoke to Guevara about the process towards the jukebox musical’s fruition, despite years of setbacks. The conversation has been condensed.
‘I think [Liwanag sa Dilim] will differ in the sense that we really found ways to reinterpret the songs in ways the audiences will get pleasantly surprised,’ says writer-director Robbie Guevara. Photo courtesy of 9 Works Theatrical
‘I think [Liwanag sa Dilim] will differ in the sense that we really found ways to reinterpret the songs in ways the audiences will get pleasantly surprised,’ says writer-director Robbie Guevara. Photo courtesy of 9 Works Theatrical
I learned that you already completed working on the material in 2019 and the staging was set for August 2020. Obviously, it didn’t push through due to the pandemic. Was there any significant recalibrations in the material, considering the delay? Any changes in the cast? Things like that.
Yes, a lot. Times have changed and the outlook (political, cultural, and socio-economic) have changed the details of the show as well. The story remains the same, but the approach had to be adjusted. We had a cast already set in 2020 but that all changed as well.
Can you speak more about the musical’s story?
Aside from it’s about Elesi, an orphaned fellow seeking his real parents and meeting Cris, who shares his passions in life, sadly, if I give more details, it will just ruin the experience. The mysteries and surprises are part of the fun!
What’s the process in terms of selecting the songs from Rico Blanco’s discography that will be featured in the show?
I read the lyrics and listen to the melody and try to fit them in the storyline. Otherwise, I try to reinterpret them. If “breaking” them in an unexpected manner works, all the better because you give the audiences something new.
In 2019, 9 Works Theatrical staged Eto Na Musikal nAPO based on Apo Hiking Society’s discography, then recently we had NWR Musicals and Full House Theater Company’s stagings of Eraserheads’ Ang Huling El Bimbo and Parokya ni Edgar’s Buruguduystunstugudunstuy. How do you think Liwanag sa Dilim distances away from the previous three, if at all? What can you say about this fixation on adapting the music of our local bands on stage?
Creating jukebox musicals, for me, is a stepping stone to hopefully creating an all original one someday. However, it has its unique challenges particularly fitting the songs to the story. I think LSD will differ in the sense that we really found ways to reinterpret the songs in ways the audiences will get pleasantly surprised.
The musical is led by a mix of theater veterans and newcomers. What was it like directing them?
Oh gosh. Not easy. For some reason, work attitudes nowadays, just like in the corporate world, are not the same. So I find myself having to teach things I didn’t have to before. We forge on!
Given the many years of working on different stagings, how has your relationship with theater changed, if at all?
I love and embrace the different trends that have come and go and stayed when it comes to staging. It really depends on one, the market, and two, the budget (haha). I will try to gauge what can be done for a show based on those two. In other words, nothing unnecessary. – Rappler.com
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