Theater Review: Bar Boys: A New Musical (2024)
The musical makes some intriguing adjustments. It preserves key highlights from the film: moral dilemmas, the nerve-wracking classroom recitations, memorable lines and the essence of lawyering.

Alex Diaz in ‘Bar Boys: A New Musical.’
Photographs courtesy of Barefoot Theater Collaborative
Barefoot Theater Collective’s Bar Boys: A New Musical, which launches its rerun, showcases the creativity and talent of Filipino artists. This marks Myke Salomon’s first venture into musical composition, with the book and lyrics crafted by Pat Valera, who created songs from scratch to narrate the time-spanning journey of male friends during their years in law school. The production is loosely adapted from Kip Oebanda’s slightly above-average 2017 indie film of the same title.
Mikko Angeles and Pat Valera direct this ambitious undertaking, which I had the opportunity to see during its final dress rehearsal on 3 October, just before its official opening on 4 October at the PMCS Blackbox Theater. While the musical diverges from Oebanda’s narrative, it retains themes of camaraderie, individual personal and familial challenges, and the rigorous discipline of law school — culminating in the coveted BAR license.

Alex Diaz in ‘Bar Boys: A New Musical.’
PHOTOGRAPHS COURTESY OF BAREFOOT THEATER COLLABORATIVE
The musical makes some intriguing adjustments. It preserves key highlights from the film: moral dilemmas, the nerve-wracking classroom recitations, memorable lines, and the essence of lawyering.
Under the direction of Angeles and Valera, the core story now emphasizes ideologies, human rights, classism, and national issues. At one point, a professor asks, “Is anyone above the law?” To which one student quips, “The vice president?” This prompts laughter from the politically engaged segment of the audience, particularly those critical of the Duterte administration.
This rerun seems to lean more towards political commentary than simply telling a story about friendship among the boys. It aims to be a topical play, advocating for justice and the pursuit of a political utopia. This approach may resonate with politically inclined audiences but could also be seen as a strategy to earn praise based on shared opinions rather than the quality of the production itself.
The cast demonstrates commendable skill, with Erik (Benedix Ramos) emerging as a fitting, nearly central character, delivering an impassioned performance and heartfelt singing. Alex Diaz as Chris also stands out with a highly-capable portrayal that captures his character’s pain and confusion.

