broadway

The Mark Taper Forum is set to host the Los Angeles premiere of “Here Lies Love,” the disco-infused musical about Imelda Marcos, beginning February 18. The production arrives at a moment when its themes of authoritarianism and political manipulation resonate with current events both in the Philippines and the United States.

The musical, conceived by David Byrne, initially debuted in 2012 at Mass MoCA. For actor Joshua Dela Cruz, who was part of the original cast, the experience was formative. He recalled navigating the complexities of being a Filipino-American performer, oscillating between embracing his cultural identity and conforming to expectations of “ethnic ambiguity” in casting. But it was the post-rehearsal conversations with his fellow cast members, discussing their Filipino upbringings and processing the show’s challenging subject matter, that truly resonated.

Now, Dela Cruz returns to the production as Ninoy Aquino, the late anti-Marcos leader, a role that carries a different weight. “It’s something that’s happening,” he said, referring to the political climate not just in the Philippines, but globally. The timing of the Los Angeles run is particularly poignant, coinciding with ongoing federal immigration crackdowns in the U.S. That some characterize as a broader move toward authoritarian rule.

The Marcos family’s political resurgence in the Philippines adds another layer of complexity. Philippine President Bongbong Marcos, Imelda’s son, and Vice President Sara Duterte are currently facing impeachment complaints alleging corruption and abuses of power. This backdrop lends a renewed urgency to the musical’s exploration of the Marcos regime and its lasting impact.

Snehal Desai, Center Theatre Group’s artistic director and the director of this production, didn’t intentionally set out to create a politically timely piece. However, he acknowledges a pattern of selecting works that address pressing social and political issues. “I don’t have a crystal ball,” Desai explained during a rehearsal break. “I’m planning based on where I feel like we are, and what are the conversations we’re going to need.” He pointed to the lyrics in the song “God Draws Straight,” which reference the role of the church in resisting oppression, as particularly relevant to the current American political landscape.

The production itself is designed to be immersive and unsettling. Desai described the show as starting in a place of “glitz and glamour” before gradually revealing the darker truths of the Marcos regime. The staging, with actors often moving among the audience, aims to implicate viewers in the story and challenge them to confront uncomfortable questions about power, corruption, and complicity.

Reanne Acasio, who portrays Imelda Marcos, emphasized the sensitivity required in approaching the role. She contrasted it with her previous work in “Hamilton,” where the historical figures were long gone. “Doing a show that talks about historical events with people who are all long gone by now is a very different experience than [performing for] people who are still traumatized by these events,” Acasio said. She noted that the Broadway production opened up conversations within Filipino families about a painful period in their history, allowing for healing and reconciliation.

Chris Renfro, who plays Ferdinand Marcos, echoed this sentiment, describing how the show has prompted new conversations within his own family about the Marcos era. He explained that the musical begins in a celebratory tone, gradually revealing the darker realities of the regime. “We keep on moving until you really can’t refute the evidence, and it becomes something that you have to confront,” Renfro said.

The cast members also spoke about the importance of representing Filipino culture authentically. Dela Cruz expressed his hope that the production would instill a sense of pride in the Filipino community, particularly in Los Angeles, which has a large Filipino population. “It doesn’t matter if you’re half or a quarter or an eighth, you’re Filipino. And Here’s our culture and our history that we carry,” he said.

The production’s creative team has also responded to past criticisms that the musical glamorized Imelda Marcos or minimized the atrocities committed by the regime. In a 2023 statement, producers emphasized that the show is intended to be a cautionary tale about the dangers of disinformation and the importance of defending democracy. Desai revealed that the song “American Troglodyte,” which explores the complex relationship between the Philippines and American culture, will be reprised multiple times throughout the show, each time with a different intention to provoke audience reflection.

Joan Almedilla, who plays Aurora Aquino, hopes the musical will inspire audiences to take action against oppressive leaders. “In the Philippines, this story is ‘the government versus the people,’ as opposed to now, ‘people versus people versus people versus the government,’” she said. She hopes that as audiences leave the theater, they will be moved to ask themselves, “There’s more of us. What are we doing?”