Theater Review: GenZ Finally Grows Up in Tabing Ilog: The Musical

Keeping up with the demand for original Filipino musicals is Teatro Kapamilya’s Tabing Ilog: The Musical. For those of us who were actual teens when the original Tabing Ilog series aired on ABS-CBN from 1999-2003, we all knew that Tabing Ilog was ABS-CBN’s answer to Hollywood’s popular and controversial Dawson’s Creek.

But the Pinoy series managed to evolve and stand on its own, as we watched then-teen actors Kaye Abad, Paolo Contis, John Lloyd Cruz, Desiree del Valle, Patrick Garcia, Baron Geisler, Paula Peralejo, and Jodi Sta. Maria gained a nationwide fanbase for their portrayals of Eds, Badong, Rovic, Corrinne, James, Fonzy, Anne, and George. Tabing Ilog kept fans glued to their TV sets every Sunday afternoon.

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Tabing Ilog: From Television to the Stage

As a TV show-turned-musical, Tabing Ilog’s March 2020 opening in the Dolphy Theater was abruptly halted because of the pandemic. They regained their momentum in 2023 with an updated cast, a new director (Phil Noble), a new scriptwriter (Eljay Deldoc), and a new venue (PETA Theater). After their successful first run, which was produced by ABS-CBN’s Star Magic, Teatro Kapamilya, and PETA, Tabing Ilog: The Musical is back with a tighter, revamped production.

The cast of the 2024 rerun is a mix of actors reprising their 2023 roles with new additions to the roster. P-Pop group BINI’s Jhoanna Robles and Sheena Belarmino and Pinoy Big Brother alum Vivoree Esclito alternate as Eds. BGYO’s Akira Morishita and Benedix Ramos alternate as Rovic. Thespian Miah Canton and PBB’s Anji Salvacion alternate as Corrinne, while Vino Mabalot plays Fonzy. PBB’s Kiara Takahashi and Andi Abaya alternate as George, while Jordan Andrews and Kobie Brown alternate as James. Jude Hinumdum plays Badong, while Omar Uddin and Adrian Lindayag alternate as Andoy.

Without having seen the short-lived 2020 staging nor the 2023 run, this elder millennial watched the 2024 production starring Esclito as Eds, Morishita as Rovic, Takahashi as George, Canton as Corrinne, Andrews as James, and Uddin as Andoy.

Old Versus New

In the stage version of Tabing Ilog, the main characters, retaining the same names from the original TV series, are no longer ’90s high school teens but GenZ young adults. Many are about to graduate from college, while others have already started exploring the workaday world. After going their separate ways post-high school, the barkada finds themselves back in the province of San Juan E, attending the funeral of their favorite homeroom teacher, Ma’am Ciriaca.

The musical starts in a flurry—a chaotic entry and exit of characters and the breaking of the fourth wall. But just like a new friend being introduced into a crazy group, you, as the audience member, will eventually settle into the ebb and flow of the play, including getting to know the shticks, quirks, and struggles of each character.

There’s Badong, with his endless nosebleed English struggles, now exploring the world of local politics. There’s the classic love team of Eds, a budding schoolteacher torn between pursuing Manila versus the provincial life, and Rovic, who harbors a secret that could end his relationship with Eds. Fonzy is dealing with alcoholism and mental health issues while his sister Corrinne is exploring her sexuality. Fonzy’s ex-girlfriend George is a New Age devotee obsessed with healing stones and the Tibetan sound bowl. Rich kid James, who is struggling with parental issues, is constantly criticizing Badong’s political ways. James introduces a new person to the barkada—his gay college best friend, Andoy.

Gen X and elder millennial fans of the ’90s series will notice that while there are a lot of nostalgic easter eggs to find, the modern staging of Tabing Ilog tweaked a lot of elements to target the GenZ audience.

In fact, in the middle of Act I, when Eds said to Rovic, "Anong akala mo sa sarili mo, si John Lloyd?" the joke hardly elicited a chuckle from the mostly GenZ audience, unlike the more sellable TikTok-inspired jokes. But we can’t blame them. They were merely toddlers or fetuses when heartthrob John Lloyd Cruz played the original Rovic from 1999 to 2003.

A nod to the OG series filmed in Laguna, Ohm David’s set design brings to life the province of San Juan E with the trademark riverside tree, ladder, wheel swing, and river water in the form of lighting and digital effects. David utilized PETA’s limited space to create a multi-dimensional, artwork-like rendition of the barkada’s favorite tambayan.

Star Power

Musical director Vincent A. de Jesus composed 24 songs for this stage adaptation, as compared to only four from the 2020 version. While the beautiful melodies helped with the story and character development, they didn’t feel like the standout feature of the musical. But we did love the theater arrangement of "Tabing Ilog," the series’ hugot theme song originally sung by Barbie’s Cradle in 1999.

On top of the troubled barkada trope, what seems to draw audiences to this production is the star power. Solidifying their place in Philippine musical theater, ABS-CBN’s Teatro Kapamilya cast a mix of Star Magic celebrities, P-Pop group members, and seasoned thespians.

Standout performances were Vino Mabalot and Miah Canton as brother-and-sister Fonzy and Corrinne. We felt the depth and heaviness of the character of Fonzy, which Mabalot made his own. We’re looking forward to seeing him land more roles in the theater scene. While Vivoree’s Eds and Akira’s Rovic made for a cutesy couple, we had hoped that other B-story couples or potential couples would be explored.

We especially loved the scene-stealing trio of Anchang (Teetin Villanueva), Toots (Vyen Villanueva), and Meow (Lance Reblando), a.k.a. the Matritres. They played the town gossips and owners of the neighborhood café, Coffee-ratiba. Total performer Lance, as with all her previous musical theater roles, was a hoot. The deceased Ma’am Ciriaca was a standout “character” on her own. Her hilariously festive funeral not only helped the story progress but also alluded to the many quirks of the Philippine provincial culture.

This play serves as a friendly reminder that the often criticized GenZ, like every generation of teens before them, is growing up. Misunderstood as they are, GenZ is more adept at handling issues that the older generations struggled with—LGBTQIA rights, sexuality, mental health, spotting red flags in relationships, and self-expression. Tabing Ilog: The Musical highlights those strengths and passes on the torch—or better yet, the wheel swing—to the now-adult GenZ.

Tabing Ilog: The Musical runs until December 1 at PETA Theater, No.5 Eymard Drive, New Manila, Quezon City. Tickets are available via Ticketworld.