Theater Review: Rep's 'Jepoy and the Magic Circle' brings back the magic of theater
It’s truly a spectacle; the small stage with its rainbow-shaped frame and the compact theater that create a more intimate, immersive experience.
Daily TribuneIt’s truly a spectacle; the small stage with its rainbow-shaped frame and the compact theater that create a more intimate, immersive experience.
Cast of ‘Jepoy and The Magic Circle.’
Noel Comia Jr. in 'Jepoy and the Magic Circle.'
PHOTOGRAPH COURTESY OF IG/PORTRAITSBYPAW
The musical Jepoy and the Magic Circle hasn’t even started, but you can already sense the magic about to unfold. As soon as you enter REP’s new theater at Eastwood City — a movie house converted into a theater with raked seating — the set is already inviting. Glowing with vibrant purples, pinks, blues and greens, the stage is divided by a scrim that hides an enchanting world.
Based on Gilda Cordero-Fernando’s book of the same title, REP’s production, directed by Joy Virata, has created a spellbinding play that may be targeted at kids but can also hook adults. I watched it with my nine-year-old niece, and we kept exclaiming, “Wow!”
The musical has strong Disney influences. The vibrant colors of the set and costumes are reminiscent of Encanto, and one scene in particular evokes the lively “Belle” number from Beauty and the Beast on Broadway, with the three Mariteses appearing to be inspired by the Bimbettes who fawn over Gaston.
It also has a dash of circus magic. A Spanish, mustachioed, ringmaster-esque old dwende named Paqui (Stephen Viñas, one of four alternates), with grass for trousers, opens the show with a delightful educational monologue and a catchy song, inviting the audience to join in.
It’s truly a spectacle; the small stage with its rainbow-shaped frame and the compact theater that create a more intimate, immersive experience. It feels like stepping into a twinkling, whimsical forest.
In typical portal-fantasy fashion, we follow the adventures of “the poorest boy in town,” Jepoy (Yhuan Gatbunton, one of three alternates), a fatherless son of a kind lavandera, Aling Barang (a superb Mikkie Bradshaw-Volante).
Like Alice in Wonderland, Jepoy finds himself thrown into another world. But instead of a rabbit hole, he falls into a magical circle — the most innovative stage effect I’ve seen so far — a quivering whirl of three-dimensional white light that tempts me to jump in and escape my own earthly miseries.
In this world, Jepoy meets mythical creatures from Philippine folklore — a time capsule for older Millennials and Boomers. We reconnect with tikbalangs, kapres and enkantos, characters that were a hit with Pinoy kids in the ‘90s but have lost some popularity in this K-pop and TikTok age.
It’s a funny underground counterculture, full of perpetual parties. But unlike in the Mad Hatter’s never-ending tea time, the creatures in Jepoy at least find time to wash the dishes. They also convene like a United Nations COP summit while discussing the pain of being outcasts. At a gathering, Kapre (Hans Eckstein) delivers a heartfelt solo that almost makes me want to stand up and advocate for the marginalized.
On the ride home, my niece said, “There was no villain.” Oh, my dear child, we, the humans, are the villains in this story — with our biases, our fear of the unknown and our insatiable desire for more.
The musical, running a brisk hour and 15 minutes, is rich with imagery and showcases Virata’s cohesive direction. She captures the wistful hearts of both kids and adults alike with a production that boasts perfect pacing and rhythm. Every scene is a visual feast and a thrilling piece of heart-rending entertainment.
Rody Vera’s English adaptation and Ejay Yatco’s lyrics are simple, accessible and unpretentious, filled with memorable lines delivered by the wonderful cast.
The humor lands well, most notably with Doña Etang’s can-can number, led by Abi Sulit with energetic and highly entertaining flair, rousing laughter from the audience.
Yatco’s catchy songs, very Disney-like (and that’s fine!), range from fun to exuberant to slow ballads and hopeful tracks — each one is a joy to hear. Gatbunton is a delight as the boy with an absentee father, experiencing a crash course on the world’s evils — but in a fun, gentle way.
The themes might be heavy, but they’re rendered with light-heartedness, tenderness and, of course, entertainment.
The production plays it safe in its creative choices, which works well rather than gambling on pretentious tweaks. Why fix what’s not broken?
The costume design bursts with colors, so dreamlike and fantastical. This trickles offstage with dazzling puppetry, but it’s not just a gimmick. These visual elements tie into the story, enhancing its themes of holding onto childlike wonder, environmental protection and exploring greed, prejudice and embracing your unique and weird self.
It’s a great ensemble. Gatbunton lends his heroic character a childlike charm, making him a fitting lead for a story about self-discovery. Bradshaw-Volante also stands out with her pitch-perfect singing and her portrayal of the kind-hearted lavandera whose job is threatened by a machine. Her sassy, confident solo about her hands being better than any laundry machine is a crowd-pleaser.
After Menchu Lauchengco-Yulo’s triumphant modern interpretation of the Off-Broadway musical I Love You, You’re Perfect, Now Change, REP once again proves its reputation for quality theater. Jepoy is a must-see for families — it brings back our love for the magic of theater.
Jepoy and the Magic Circle runs through February 2025 at REP Theater, Eastwood City Walk.
