Photo / Barefoot Theatre Collaborative
There comes a point in everyone’s life when they realize that they aren’t kids anymore. They think about the world, their place in it, and the future. What do I live for? Which path should I take in life? What legacy will I leave behind? They’re tough questions, but We Aren’t Kids Anymore makes wondering about them sound good.
We Aren’t Kids Anymore is a coming-of-age musical by Drew Gasparini that dives into the messy reality of growing up, while never quite feeling like you have. It features a poem by Keith White, with orchestrations and vocal arrangements by Justin Goldner and Gasparini.
The setlist consists of gut-punching songs sung by five people navigating the changes that come with the realization that life doesn’t come with a manual. Barefoot Theatre Collaborative’s production stars Maronne Cruz, Gio Gahol, Gab Pangilinan, Luigi Quesada, and Myke Salomon.
The songs of We Aren’t Kids Anymore capture what it feels like when you realize who you thought you’d be is different from who you’re becoming.
Photo / CJ Ochoa
Take, for example, “Hello, My Name Is Drew,” the first song on the soundtrack. The cast sings, “Sometimes I don’t know what the hell I should be doing. I’ve been working so damn long on finding something worth a damn.”
In “On the Edge,” Bonnie talks about making mistakes. She sings, “I think I think too much, I think I’m living on the brink too much. I’m getting ready to be tripped, I skip a step. I’m tipping over, and I’m hanging on the ledge.”
Sometimes the lyrics feel cheesy, but these are easily forgivable as the songs are catchy and belong on a music chart. Some highlights include “What the Hell Am I Doing With My Life?,” “Something Good,” and “I’ll Stick Around.”
Photo / Kris Rocha
We Aren’t Kids Anymore is unique because it isn’t a musical. It’s a song cycle, or a group of standalone numbers sung sequentially. There is no dialogue, so it feels like a concert, but the songs tell a single story with a narrative journey. Since no spoken lines serve as context or transitions between songs, the audience must exert more effort to fill the spaces between musical numbers.
What’s exciting about Barefoot Theatre Collaborative’s staging is that the cast didn’t stand in a line and deliver their songs, in the style of Rent‘s “Seasons of Love.”
Jomelle Era, who directed the movement, created a complex choreography with actors running, jumping, and dancing on all four corners of the stage. The result is a dynamic staging that is fun to watch.
Photo / Kris Rocha
The bops and choreography would be nothing without a strong cast, and Barefoot Theatre Collaborative’s production has an incredible lineup of actors.
Pangilinan, the consummate performer, hits all her notes beautifully while running around the stage and being lifted by her castmates. Gahol is another highlight. He is leading man material with his pop star looks and voice. Fresh from his last stint in Mula sa Buwan, Salomon still has the melancholy and soulful air as the leading man, Cyrano.
Cruz and Quesada are interesting performers. They seem more reserved than their co-stars, but they command the room when they sing. Cruz takes control during “Turn the Page” and “We Aren’t Kids Anymore.” Quesada was wonderful in “I Wish I Never Met You.” Both have incredible voices.
Photo / Kris Rocha
Perhaps the only drawback to the show is that the cast’s voices sometimes get drowned out by the music. It’s a recurring occurrence in the venue, but We Aren’t Kids Anymore‘s sound quality is an improvement compared to other productions. They sound clearer (Pangilinan always sounds like she’s on HD), but this writer wishes the audio were consistent.
Overall, the music and cast carry this wonderful show about growing up. We Aren’t Kids Anymore is needed now, with millennials hitting their 30s and 40s, or finding their place somewhere in between, and Gen Zers figuring out their path after university. The show doesn’t have all the answers, but when the soundtrack sounds this good, that’s comforting enough.
We Aren’t Kids Anymore will be staged for four weeks only, from May 2 to 25, 2025, at the Power Mac Center Spotlight Blackbox Theater in Circuit Makati. The show will run for 90 minutes without intermission, and latecomers will not be admitted. Tickets are Gold (P3,200) and Silver (P2,700).
Rem Zamora is the director of the production. Also joining the creative team are Myke Salomon and Farley Asuncion as musical directors, Jomelle Era as movement director, Joey Mendoza as production designer, Hershee Tantiado as associate production designer, D Cortezano as lighting designer and technical director, and Aron Roca as sound designer.
Get tickets now at bit.ly/waka2025tickets.
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