The Philippine Educational Theater Association’s Walang Aray, in returning to the stage, reaffirms its strength as both parody and homage as it transforms Severino Reyes’ classic sarsuwela, Walang Sugat, into a riotous, award-winning spectacle of music, satire and social commentary. Written by Rody Vera, directed by Ian Segarra, and set to music of Vince Lim, the production continues to evolve with new elements, a cast recording and bold casting choices that infuse fresh energy into the PETA stage.

Beyond its theatrical brilliance, it has become a groundbreaking space for representation, highlighted by transgender actor Lance Reblando’s casting in a lead role. Reblando’s journey — from early performances to international tours and acclaimed local productions — embodies both resilience and transformation, culminating in her trailblazing role at PETA.

Creative and community milestones

According to Segarra, the casting of trans actors was “because they were the right people for the role. They met all the artistic requirements — skill, presence, commitment, and the ability to embody the character. Their casting wasn’t about fulfilling a label; it was about honoring talent and making sure the story was told truthfully and powerfully.”

He added: “Onstage, what mattered most was harmony and dynamics — how the cast worked together to tell the story. Our trans actors brought new layers of energy, truth, and perspective that fit the play’s demands. Beyond the stage, the ‘dimension’ is not just in performance but also in how it resonates differently with each audience member — some see themselves represented, others are challenged to broaden their understanding.”

For Reblando, being cast as Julia is more than just a personal milestone — it is a breakthrough for representation in Philippine theater. “Wala pang nangyayaring ganito sa kasaysayan ng Philippine theater (Nothing like this has ever happened in the history of Philippine theater),” she reflected, noting how many in the trans community once thought such opportunities were only dreams, forever out of reach. “Ngayon ito na siya. Nangyayari na siya. Posible pala (But now, here it is. It’s happening. It turns out it’s possible),” she said.

Her casting signals a growing openness in the industry to include trans performers in roles once thought inaccessible. “Mas lumalawak na ang entablado para sa mga taong kagaya ko. Mas bukas na ang pinto para sa mga trans youth na nangangarap na gumanap na maging Julia at iba pang roles na gusto nila (The stage is expanding for people like me. The doors are opening wider for trans youth who dream of playing Julia and other roles they aspire to),” Reblando said.

What makes the achievement even more meaningful, she emphasized, is that she was chosen not only because she is a trans woman, but because she was right for the role. “Nagkataon lang na trans woman ako (it just so happens that I’m a trans woman), which is a huge thing for our community kasi double win siya (because it is a double win),” she said.

Looking ahead, Reblando hopes her breakthrough paves the way for others. “Nae-excite akong makita, mapanood at makilala pa ang mga mahihiwagang nilalang na kagaya ko na susunod sa yapak ko at uukit pa ng sarili nilang path sa mundo ng Philippine theater. Hindi niyo kami mabubura. Dadami pa kami. Mahuhusay kami. Mahihiwaga kaming mga nilalang (I’m excited to see, watch, and get to know more magical beings like me who will follow in my footsteps and carve their own paths in the world of Philippine theater. You cannot erase us. There will be more of us. We are talented. We are magical beings). Trans women are women. Trans men are men. Protect the Dolls!” she enthused.

Walang Aray demonstrates how a work of art can transform and evolve in the process of creations, recreations and transitions, enriching not only its own history but also the lives of those it touches — audiences, actors and creators alike in many different ways.

“Filipino stories are diverse, and so are Filipino identities,” Segarra noted. “Our culture has never been strictly binary — our myths, our histories, and even our communities show that. It’s only right that our theater reflects that diversity. Actors should be given the chance to portray roles that suit their artistry, regardless of gender identity. By doing so, we affirm that representation matters, and that our stage can — and should — mirror the richness of the Filipino people.”