Karla Puno Garcia on dance, direction, and 'A Chorus Line'

By John Legaspi

Published Jan 2, 2026 06:30 pm

When Karla Puno Garcia visited the Philippines in October, she was daydreaming of some fun time at the beach—Bolinao in Pangasinan, to be specific. But things quickly geared up creatively, leading her to take a rain check on that vacation and focus on the task at hand: directing and choreographing the local production of “A Chorus Line.”

Karla Puno Garcia (Photo by Kate Mollison and Ernest Gatpandan III)

“A Chorus Line” is an American musical originally directed and choreographed by Michael Bennett and his associate, Baayork Lee. The show depicts the trials and triumphs of Broadway’s unsung heroes. When Theatre Group Asia’s (TGA) overall artistic and creative director, Tony Award–winner Clint Ramos, thought of bringing it to the Philippines, it was a natural decision to tap Karla to lead the production.

With her Broadway credits—most notably as the first Filipino cast member and dance captain in “Hamilton,” and as the first woman of color to choreograph the opening number of the Tony Awards, which earned her an Emmy for Outstanding Choreography for Variety or Reality Programming—Karla is the perfect artist to take on the role of director and choreographer. But the show calls for more than technical excellence.

Karla Puno Garcia won an Emmy award in 2024. (Photo by Jordan Strauss/Invision for the Television Academy/AP Content Services)

If TGA’s most recent production, “Into the Woods,” is any indication, “A Chorus Line” may also highlight elements of Filipino culture and artistry—something Karla is deeply familiar with.

Before the curtain rises on the local staging of “A Chorus Line,” Manila Bulletin Lifestyle got the chance to sit down with Karla as she shares her life on stage, her excitement for the upcoming production, and what makes dance a powerful form of art.

Can you tell us a bit about your journey—what first drew you to dance and choreography?

I started tap dancing at the age of three. I also began with traditional folk dances—I did itik-itik and bangkô. Those were my first memories of dancing with a group. Then I went on to dance competitively, learning American dance styles like tap, jazz, ballet, and more. After that, I studied dance at New York University and earned a BFA in Dance. I expanded my training in modern dance and concert work. Dancing on Broadway was always a specific goal for me. After college, I went on to perform in Broadway shows. That was my trajectory in a nutshell.

My growth as a choreographer came after I started dancing professionally and working with different choreographers in shows like “Hamilton,” “West Side Story,” and “Wicked.” Experiencing a diverse array of movement styles infused my work with new ways of moving. I was also inspired by hip-hop and the underground hip-hop scene. Overall, my aesthetic is a culmination of my experiences as a performer. That’s where my perspective comes from, along with a sensitivity to music and musicality.

Do you look up to any artists or dancers?

The person I looked up to at a young age was my godsister, LaMae Caparas. She went on to perform in “The King and I” national tour, “Fosse on Broadway,” and “The Lion King.” I literally watched her go from my hometown and dance studio to Broadway and work professionally. Seeing that made me believe that if she could do it, I could too.

What are the common misconceptions people have about dancers and choreographers?

I think choreographers are directors in their own right. When working on a musical, the choreographer and director are often co-piloting the show. My job is to help stage the production in tandem with the director’s vision. Taking on the role of a director isn’t that different from choreographing a piece—I’m still supporting the story and conveying it through movement and space.

People often think choreographers are just making up dance steps, but we’re also responsible for how the piece feels and how the show moves overall.

Karla Puno Garcia (Photo by Kate Mollison and Ernest Gatpandan III)

Let’s talk about ‘A Chorus Line.’ Can we expect a Filipino flair in the upcoming staging, much like in ‘Into the Woods’?

There has been a lot of thought and intentionality put into incorporating Filipino elements into the piece, and I’m excited for everyone to see how we do that.

For you, what makes dance—often seen as a form of entertainment—a unique form of art?

Dance has power because there are no words. It’s a visceral way of communicating and expressing how we naturally feel. My nine-month-old, whenever she hears music, immediately starts to move. That alone shows that we’re born to dance—it’s in our bones.

A Chorus Line will feature a stellar ensemble of Filipino performers and will run from March 12 to 29, 2026, at the Samsung Performing Arts Theater in Makati City, with performances on Thursdays and Fridays at 7:30 p.m., and Saturdays and Sundays at 2 p.m. and 7:30 p.m. Tickets are now available via TicketWorld.

Philippine Airlines (PAL) ended 2025 as Asia’s most punctual airlin

 Philippine Star

Flag carrier Philippine Airlines (PAL) ended 2025 as Asia’s most punctual airline, dominating in a region where some of the world’s finest operators are based. https://tinyurl.com/4x3xp6ht | via ONE News

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Eya Laure, three others join Choco Mucho Flying Titans

By Kristel Satumbaga-Villar

At A Glance

• The development was unveiled at the stroke of midnight on Thursday, Jan. 1, signaling a bold reset for the squad still chasing its elusive breakthrough title.

Choco Mucho Flying Titans Facebook

The Choco Mucho Flying Titans rang in the new year with a major roster shake-up, bolstering their lineup for the 2026 Premier Volleyball League All-Filipino Conference by adding Eya Laure, Jaila Atienza and Alina Bicar, while welcoming back Caitlin Viray.

The development was unveiled at the stroke of midnight on Thursday, Jan. 1, signaling a bold reset for the squad still chasing its elusive breakthrough title.

“A NEW ERA BEGINS,” the post read. “The Choco Mucho Flying Titans welcome four new players to the team! They bring the grit, speed, and fire that will make every match unforgettable.”

“Ube Nation, get ready to cheer louder than ever for Jaila Atienza, Caitlin Viray, Alina Bicar, and Eya Laure!” it added.

Laure, 26, is returning to the league after a year-long absence due to a non-compete clause. She last played for the Chery Tiggo Crossovers in 2024.

The 5-foot-10 outside hitter brings valuable international experience from her stints with the national team, including a silver-medal finish at the AVC Nations Cup and back-to-back bronze medals at the SEA V.League.

Atienza, Bicar and Viray, for their part, are expected to bring depth and experience to the crew that already has Maddie Madayag, Kat Tolentino, Des Cheng and Isa Molde, to name a few.

The development also came after the team management decided not to renew the contracts of Royse Tubino, Bia General, Cherry Nunag and Aduke Agunsanya.

Mentored by Dante Alinsunurin, the Flying Titans seek to eclipse their performances in previous conferences. Last season, they finished fourth in the All-Filipino, 10th in PVL on Tour, and ninth in the Reinforced.

AUDIOJUNKIE: The Dean of modern soul

By Punch Liwanag

Published Jan 5, 2026 11:58 am

Happy New Year! The start of 2026 is bringing all the good vibes you need and giving you the momentum to pursue your heart's desire. Make sure music plays a part in kick-starting the year, whether for listening pleasure, to get pumped up and into action, or to inspire you to tackle the next big new beginning.

Olivia Dean's 'The Art of Loving' official album art (Facebook)

And the first artist feature of 2026 checks out on all the aforementioned.

Olivia Dean is a rising artist in modern soul music. Born Olivia Lauryn Dean (her middle name a nod to the Fugees star), the singer is based in London and is of Jamaican-Guyanese and English heritage.

Olivia started her music journey at a young age. When she was eight years old, she was already singing in the church choir. She attended the BRIT School of Performing and Creative Arts, the same school where Adele and Amy Winehouse studied, where she took up musical theatre before switching to songwriting. She began her career as a backup vocalist before releasing her debut EP, “Ok Love You Bye,” in 2019.

Olivia blends modern soul, jazz, and classic pop, and listening to her songs from said EP, her sonic leanings are, as mentioned, indeed as described. Also quite obvious is her velvety singing tone that recalls the smooth delivery of Sade, like on “Reason to Stay,” or being washed in soul, a la Winehouse, on the track “Password Change.”

Olivia's name remained low-key local (to the UK) before her breakthrough album, but she’s already delivering a steady stream of music since her debut. And listening to early songs, she has a track record of not just staying in one place musically. For example, the indie feel of 2020’s “Crosswords” and her tender ballad “Baby Come Home,” from said early days, definitely keeps things interesting sonically and breaks her out of genre trappings.

Enter her album, “Art Of Loving,” which practically announced she’s ready for the big time. Here, over a dozen songs, warm-sounding, organic arrangements on piano, brass, classical guitars, and strings are used tastefully to flesh out Olivia’s themes of young adulthood, vulnerability, self-love, and navigating romantic relationships.

Opening with the strangely Fleetwood Mac-esque “Nice To Each Other,” where one chorus goes ‘Cause you know / I’ve done all the classic stuff / And it never works” seems more like a tease of what the album is all about, than a lyrical turn about a relationship hijink. Of course, Olivia is doing the classic sounds colliding soul, jazz, and pop.

Every other track on her sophomore release has a vintage patina, but still sounds modern. “Lady Lady” is Motown without ripping off any song we know. “Close Up” is smooth like Gladys Knight but seen through new lenses. And Olivia seamlessly switches to chill on the bossa feels of “So Easy (To Fall In Love).” The 26-year-old singer scored big on “Man I Need,” has over half a billion streams on one music platform alone, and went up the music charts. With good reasons, because it’s expressive, grooving, and she is just cool.

Check out “A Couple Minutes” for the sound listeners closely associated with the singer. And in the spirit of breaking away from what seems expected of her, she has the warm-sounding acoustic guitars of “Loud” to play out the relationship drama in her head. Even the album closer “I’ve seen it” leaves an impression with its simplicity, which is actually the hook of the song.

Being cool and bluesy comes effortlessly to Olivia Dean.