London — there is an undeniable magic to London’s West End. This is a place where history doesn’t just live in text; it breathes through the floorboards, resonates in the velvet drapes, and echoes in the applause of packed houses.
Standing in these centuries-old playhouses as a Filipino theater lover, I couldn’t help but feel a wave of optimistic pride. The theater is thriving in London, and it serves as a brilliant blueprint for our very own arts scene back home. With our modern venues and a recent surge of sold-out plays and musicals, Metro Manila is uniquely positioned to bank on this global momentum and truly become Asia’s next West End.
My recent theatrical marathon was a masterclass in how heritage enhances performance. On May 12, I had the pleasure of attending the Gala performance of Mel Brooks’ musical “The Producers” at the Garrick Theatre, a treat from my London-based brother, Glenn Alfred. The Garrick, which opened in 1889 and was named after the legendary playwright David Garrick, proved to be the perfect host.
“The Producers” is a riotous, high-energy triumph, blending razor-sharp wit with unforgettable physical comedy. Andy Nyman, Marc Antolin, and Trevor Ashley deliver masterfully comedic performances that keep the audience laughing from curtain rise to the final bow.
The very next evening, May 13, brought me to the historic Lyceum Theatre for Disney’s “The Lion King.” The Lyceum is a magnificent amalgamation of eras; though rebuilt in 1904 after an 1830 fire, it proudly retains its grand 1834 façade and portico entrance. As a junior high school student in the Philippines when the original animated film was released, seeing this story live was deeply nostalgic.
This production of “The Lion King,” led beautifully by George Asprey, Shaun Escoffery, Posi Morakinyo, and Asha Parker-Wallace, remains a visually spectacular and emotionally resonant masterpiece that practically invites the audience to sing along in sheer delight.
On May 14, I dove into “Titanique” at The Criterion Theatre. Strategically located right under the bustle of Piccadilly Circus since March 21, 1874, this subterranean 588-seat venue over three levels is the perfect space for intimate plays and comedies.
“Titanique” is a wonderfully camp, vocal powerhouse of a show that hilariously dismantles the classic film through the discography of Céline Dion. It is a wildly inventive parody that maximizes its intimate setting for non-stop, self-aware laughter.
Looking back, this streak of incredible experiences actually began over the last couple of years. In April 2025, I visited the massive Dominion Theatre, which first opened its doors in 1929, to see “The Devil Wears Prada – A New Musical.”
Featuring Vanessa Williams as a brilliantly fierce Miranda Priestly alongside Georgie Buckland, Amy Di Bartolomeo, and Matt Henry, the musical successfully translates the chic, high-stakes energy of the beloved film onto the stage. It balances a stylish contemporary score with the delicious fashion-world drama fans adore.
In March 2024, I witnessed Neil Simon’s “Plaza Suite” at The Savoy Theatre, starring the formidable real-life couple Matthew Broderick and Sarah Jessica Parker. General Manager Maxine English noted that The Savoy was the first building in the world to be lit entirely by electricity back in 1881. First seen on stage in 1968, Plaza Suite continues to resonate because it is deeply human. I completely agree with Director John Benjamin Hickey that it is joyous, touching, and brilliantly funny — a beautiful examination of marriage, family, and connection, anchored by Broderick’s stellar acting and Parker’s magnetic stage presence.
Going back to October 2023, I enjoyed Marcelo Dos Santos’ “Backstairs Billy” at the Duke of York’s Theatre. Built in 1892 by architect Walter Emden, GM Oli Seadon noted the theatre’s 130+ year history of hosting the world’s finest talents.
Penelope Wilton’s regal charm as the Queen Mother paired with Luke Evans’ witty, vibrant performance made this sharp comedy an absolute delight to watch.
But perhaps the most unforgettable night occurred on November 2, 2023, at the historic Gielgud Theatre — which opened in 1906 as the Hicks Theatre before being renamed to honor the great Sir John Gielgud. I was there for “Stephen Sondheim’s Old Friends,” an extra special experience because it featured our very own Lea Salonga alongside the legendary Bernadette Peters.
I lost count of how many times I stood up to give Lea a standing ovation for her outstanding performance. It was a moment of pure national pride to see not just Filipinos, but the entire London audience, on their feet. Both Lea and Bernadette gave stellar, transcendent performances. As producer Cameron Mackintosh noted, the song selections perfectly showcased how Sondheim’s greatest music was as brilliant as his greatest lyrics — a pure reflection of love for one of the greatest “Broadway babies” of all time.
Seeing the West End thrive on a mix of timeless history and dazzling talent convinces me more than ever: Metro Manila, with its rapidly growing theater footprint, state-of-the-art new hubs, and fiercely passionate audiences, is well on its way to carving out its own historic legacy as the definitive theatrical crown of Asia.
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