{"id":17549,"date":"2026-03-22T08:37:06","date_gmt":"2026-03-22T15:37:06","guid":{"rendered":"https:\/\/cahighways.org\/wordpress\/?p=17549"},"modified":"2026-03-22T22:01:22","modified_gmt":"2026-03-23T05:01:22","slug":"finding-hope-in-straight-crooked-lines-here-lies-love-ctg-taper","status":"publish","type":"post","link":"https:\/\/cahighways.org\/wordpress\/?p=17549","title":{"rendered":"🎭 Finding Hope in Straight Crooked Lines | “Here Lies Love” @ CTG\/Taper"},"content":{"rendered":"

\"Here\"\"Many years ago, I got the off-Broadway cast album for Here Lies Love<\/em>, a musical about Imelda Marcos<\/a> by David Byrne and Fatboy Slim. I fell in love with the last song on the album, “God Draws Straight”<\/a>. In my mind, I thought it was about LGBTQ stuff, similar to “God Don’t Make No Trash” from\u00a0bare<\/em><\/a>. Well, yesterday afternoon we saw\u00a0Here Lies Love\u00a0<\/em>at CTG\/Mark Taper Forum<\/a>, and I came to realize the song means something different\u2014something more timely. It means that building a more just and democratic society can be done, but it isn’t a straight path. There are fits and starts, and sometimes you go the wrong direction, but if you persevere and keep protesting and fighting, you will reach your goal.<\/p>\n

This musical was written in 2010, and didn’t open Off-Broadway until 2013. This was long before the rise of Donald Trump. Yet the musical hits today as something very timely: the behavior of Ferdinand Marcos in office is very similar to the behavior of Trump. Abusing democracy, grabbing power, using the military against citizens, disappearing people. The key difference is that Melania shows no interesting in personally taking power (thankfully). “God Draws Straight” concludes on a hopeful note, but alas recent history hasn’t borne that out, with Duterte<\/a>‘s rise to power, and then the election of BongBong Marcos<\/a>, Imelda and Ferdinand’s son. But the parallels remain.<\/p>\n

This is the first regional production of Here Lies Love<\/em> in Los Angeles, after an initial Broadway run in 2023. This production reimagines the story from a disco to a noontime Philippine TV show hosted by a drag-queen, still telling Marcos’ story. It also retains a controversial aspect from the original production: recorded music. I became suspicious of this in the program, where in an interview with Byrne, he talks about \u00ab”track acts” in dicos, live disco sets with backing tracks where artists would perform karaoke version of their hits\u00bb. I also noted that there were no credits for the musicians in the program: only a music director and a music producer. I agree with the Broadway Unions somewhat here: Theatre requires live performance, and if at all possible, live music (I make some exceptions for intimate theatres that have neither space nor budget). If you are going to do recorded music, at least have the courtesy to record and acknowledge the musicians that performed the music for the recording.<\/p>\n

The concept of the musical is entertaining, and does a great job of educating people about the history of the Marcos regime in the Philippines (similar to the way\u00a0Evita\u00a0<\/em>educates about the rise of the Peron Family in Argentina). The fear is that the upbeat and pop nature of the musical masks the actual terror and fear of those that had to live under the regime, and potentially makes Marcos appear to be a better person than she was. This is a form of historical whitewashing (or, to use a less charged term, gaslighting), similar to the whitewashing that has taken place about the People Power Revolution. Luckily, the program for the show helps one to see through the glitz to the reality. As I write this, I realize the parallel to the change that CTG made in this production: the drag queen narrator provides a similar fa\u00e7ade: a face of glitz and glamour, with something different underneath. In a world of those who would be authoritarian and who would grab and take power, the truth and the reality doesn’t matter. What is important is the fa\u00e7ade, the image, the story created by the media. As noted before, this musical speaks well today.<\/p>\n

The performances were top-notch, with an incredibly large cast for the small Taper space. We had an understudy in the narrator position of Imeldific, Steven-Adam Agdeppa. Steven-Adam was wonderful, showing the transition from the glitz to the man under the glitz. Reanne Acasio was a very strong Imelda, and Joshua Dela Cruz was a great Ninoy Aquino. Carol Angeli stood out as Estrelia Cumpas, Imelda’s nanny and childhood friend. Also notable, although I can’t tell from the program which ensemble member she was, was the ensemble member who played Cory Aquino, Ninoy’s wife. She just had a look that drew my eye to her. The ensemble members were interesting to watch, especially the facial expressions and their interactions with the audience. I’ll note that this show is very audience-interactive; it is not a proscenium-stage show that plays to a passive audience.<\/p>\n

I should also note: There is no mention of Imelda Marcos’ shoe obsession<\/a>; the only hint is at the beginning when she is given her first set of heels to replace her flats. I’ll also note that the term “Imeldific”, which is used as the name of the drag-queen in the show and is a Philippine adjective meaning \u00ab”anything exaggeratedly ostentatious or in bad taste”, referring to clothing, architecture, d\u00e9cor, etc.\u00bb is something that could equally be well-applied to Trump’s taste and decorating style. Parallels upon parallels indeed. Perhaps the media needs to start using the term Imeldific to describe Trump.<\/p>\n

The story of Marcos is told in\u00a0Here Lies Love<\/em> generally in a sung-through fashion. Although there are small snips of dialogue, most of the story comes through the dance numbers and the projections on the upper screen. We brought our binoculars, but sometimes focusing on watching the faces and the dancers meant that we missed some of the story on the projections.<\/p>\n

The show also contains my current pet peeve: Confetti that drops from the ceiling. There is no real story need for this other than the glitz. It creates plastic that just gets thrown away, which is horrid for the environment. We need to push back against this trend (and I know I’ll see it next week at\u00a0Spamalot<\/em>).<\/p>\n

Overall, we really enjoyed this show. We learned a lot of history, realized a lot of (scary) parallels, and were entertained through the performances. Yes, I did tear up when “God Draws Straight” started; it just hits that way. If you can get tickets, I recommend the show. Tickets should be available through the CTG website<\/a>.<\/p>\n

Credits<\/strong><\/h4>\n

Here Lies Love<\/em>. Concept, music and lyrics by\u00a0David Byrne<\/strong>. Music by\u00a0Fatboy Slim<\/strong>. Choreography by\u00a0William Carlos Angulo<\/strong>. Directed by\u00a0Snehal Desai<\/strong>.<\/p>\n

Cast<\/span>\u00a0[underscores<\/span>\u00a0indicate \u201cat our performance\u201d;\u00a0strikeouts<\/del> indicate \u201cnot at our performance\u201d; \u2191 indicates \u201cswung up\u201d]: Reanne Acasio\u00a0Imelda Marcos<\/em><\/span>; Joan Almedilla\u00a0Aurora Aquino<\/em><\/span>; Carol Angeli\u00a0Estrella Cumpas<\/em><\/span>; Joshua Dela Cruz\u00a0Ninoy Aquino<\/em><\/span>; Sarah Kay\u00a0Maria Luisa<\/em><\/span>; Aura Mayari<\/del> Steven-Adam Agdeppa<\/span>\u00a0Imeldific<\/em><\/span>; Chris Renfro\u00a0Ferdinand Marcos<\/em><\/span>. Ensemble: Steven-Adam Agdeppa<\/del>, Kayla Amistad, Kelvin Co, Joanne Javien Coudriet, Audrey Lyn Crabi\u00f1o, Jefflorenz Garrido Garrick; Goce Macatangay, Danielle Louise Mendoza, Justine Rafael, \u2191 Hayden Rivas<\/span>, Ryan Salazar. Swings: \u2191 Hayden Rivas, Johnisa Almariya Breault, Zandi de Jesus.<\/p>\n

Music Department<\/span>: Joe Cruz\u00a0Music Director<\/em><\/span>. Jennifer Lin\u00a0Music Director<\/em><\/span>; Justin Levine\u00a0Music Producer, Vocal Arrangements<\/em><\/span>; Matt Stine\u00a0Music Production, Additional Arrangements<\/em><\/span>. No credit is provided for the actual musicians.<\/p>\n

Production and Creative<\/span>: David Byrne\u00a0Concept, Music, Lyrics<\/em><\/span>; Fatboy Slim\u00a0Music<\/em><\/span>; Snehal Desai\u00a0Director, CTG Artistic Director<\/em><\/span>; William Carlos Angulo\u00a0Choreographer<\/em><\/span>; Hayden Rivas\u00a0Dance Captain<\/em><\/span>; Arnel Sanciaco\u00a0Scenic Designer<\/em><\/span>; Jaymee Ngerwichit\u00a0Costume Designer<\/em><\/span>; Marcella Barbeau\u00a0Lighting Designer<\/em><\/span>; Brian Hsieh\u00a0Sound Designer<\/em><\/span>; Yee Eun Nam\u00a0Projection Design<\/em><\/span>; Kaleena Jordan\u00a0Wig, Hair, and Makeup Design<\/em><\/span>; Ely Sonny Orquiza\u00a0Dramaturg<\/em><\/span>; Janelle Dote Portman\u00a0Assoc. Director<\/em><\/span>; U. J. Mangune\u00a0Assoc. Choreographer<\/em><\/span>; Jill Gold\u00a0Production Stage Manager<\/em><\/span>; Miriam E. Mendoza\u00a0Stage Manager<\/em><\/span>; Jihee Jenny Park\u00a0Stage Manager<\/em><\/span>; Kimberly Grigsby\u00a0Vocal Arrangements<\/em><\/span>; Justin Levine\u00a0Vocal Arrangements<\/em><\/span>; Michael Donovan CSA\u00a0Casting<\/em><\/span>; Richie Ferris CSA\u00a0Casting<\/em><\/span>; Joseph Pinzon\u00a0Casting Consultant<\/em><\/span>; Jimmy Elinski\u00a0Drag Queen Costume Specialist<\/em><\/span>.<\/p>\n

Administrivia<\/strong><\/h4>\n

I am not a professional critic. I\u2019m a retired cybersecurity professional, a roadgeek who does\u00a0a highway site<\/a>\u00a0and\u00a0a podcast<\/a>\u00a0about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at:\u00a0Center Theatre Group<\/a>\/Ahmanson Theatre<\/a>;\u00a0Broadway in Hollywood\/Pantages Theatre<\/a>;\u00a0Pasadena Playhouse<\/a>;\u00a0The Soraya<\/a>,\u00a0Chromolume Theatre<\/a>, and\u00a05-Star Theatricals<\/a>.<\/p>\n

Want to find a show:\u00a0Check out the Theatre Commons LA show list<\/a>. Other good lists are the\u00a0Theatre in LA<\/a>\u00a0listings; the\u00a0TodayTix<\/a>\u00a0listings;\u00a0OnStage 411<\/a>\u00a0(use the \u201cshows\u201d drop down); and\u00a0Theatermania<\/a>.<\/p>\n

Some interesting shows that have caught my eye.\u00a0Wisteria Theatre<\/a>\u00a0is doing\u00a0Reefer Madness: The Musical<\/a>\u00a0(in April), as is\u00a0Long Beach Playhouse<\/a>\u00a0(in\u00a0October\/November<\/a>).\u00a0 Wisteria was overpriced for a black-box; I might look into Long Beach\u2019s production (but have to factor in the drive).\u00a0Ebony Rep<\/a>\u00a0is doing\u00a0Ain\u2019t Misbehavin\u2019<\/em>\u00a0at the end of May into June. I love the show, but the prices are a bit high and I\u2019m still trying to decide. I have a hold on the calendar.\u00a0Casa 0101<\/a>\u00a0is doing the play version of\u00a0Real Women Have Curves<\/em>\u00a0from the end of March into May.\u00a0Conundrum Theatre<\/a>\u00a0is doing a bunch of shows, but notably\u00a0Big Fish\u00a0<\/em>in December 2026. And, as noted earlier,\u00a0the Colony Theatre<\/a>\u00a0is doing Catch Me If You Can in the September\/October 2026 timeframe. I\u2019ll look into ticketing the fall shows once I know the CTG Season, to prevent conflicts.\u00a0Broadway in Hollywood<\/a>\u00a0has\u00a0announced its 2026-2027 season<\/a>, and it is spectacular. The only major shows missing are\u00a0Oh Mary<\/em>,\u00a0Boop: The Musical<\/em>, and\u00a0Just In Time<\/em>. I expect\u00a0Oh Mary<\/em>\u00a0to show up at the Ahmanson, and possibly\u00a0Boop<\/em>;\u00a0Just In Time<\/em>\u00a0might be in the following\u00a0Broadway in Hollywood<\/em>\u00a0season as I haven\u2019t seen it announce any tour dates. Perhaps some local theatre will decide to mount\u00a0Real Women Have Curves \u2013 The Musical<\/em>\u00a0or\u00a0Dead Outlaw<\/em>. One can hope. Lastly, I\u2019ll note\u00a0Group Rep in NoHo<\/a>\u00a0has announced their season, which includes a mounting of\u00a0Applause<\/em><\/a>\u00a0in the July-August timeframe. That\u2019s useful if you missed\u00a0the MTG one-nighter<\/a>; I haven\u2019t yet decided if I want to see it again (although Group Rep does a great job with older and rarely done musical re-visits).<\/p>\n

I used to do more detailed writeups;\u00a0here\u2019s my current approach<\/a>.<\/p>\n

Upcoming<\/h4>\n

♦ Theatre \/ ♣ Music \/ \u25ca Other Live Performance \u2013 Next 90ish<\/em>\u00a0Days (\u2295 indicates ticketing is pending).<\/p>\n