Futuristic ‘Rizal 3000’ musical goes onstage nationwide

“Ambitious” is how the latest nationalistic musical from Philstagers, “Rizal 3000,” can be described. From the period costumes to the futuristic props and the modern score, the production rose above the rest of its predecessors to stand as different and unique.

Sure, “Rizal 3000” focuses on our national hero, Jose Rizal, on whether or not he still remains relevant, especially to the younger generation. But much has been said about Rizal throughout every era of studying his life, his work, his accomplishments.

What happens when the name Jose Rizal becomes forbidden, books are outlawed and an entire nation is stripped of its history? This is the provocative premise of “Rizal 3000,” the latest theatrical offering from Philstagers Theater Foundation (PSF).

Lawyer-actor-singer Vince Tañada explored Rizal in the musical he wrote, directed and starred in. Writing, directing and starring in the musical has been one of the most demanding artistic journeys of Tañada’s career. It meant building two different worlds that co-exist on one stage of the Philippines of Jose Rizal’s time, rooted in history, revolution and the imagined Philippines of the year 3000.

Technology has become a tool for forgetting rather than remembering. Bridging those two eras while allowing them to speak to each other with clarity, emotion and purpose has been both the greatest difficulty and fulfillment of the work.

In every aspect, “Rizal 3000” is his most ambitious production to date. From its production design and visual aesthetics to its original music score created by Pipo Zafra, choreography, costume, multi-media integration and ensemble casting, the production has challenged themselves to create a theatrical experience unlike anything they have done before.

“Every costume, every note, every movement and every visual image has been carefully crafted to serve a single purpose,” said Tañada, artistic director and chief executive officer of Philstagers. “To remind us that history is never merely about yesterday, but about the choices we make today.”

The success of “Bonifacio: Ang Supremo” (2025) inspired audiences across the country and raised expectations for what Philstagers can accomplish.

“We embrace that responsibility,” added Tañada. “Rather than repeating ourselves, we opted to take an even greater artistic risk. We knew that if we were to honor the trust of our audiences, we had to surpass our own limits and prove once again that Philippine theater can be both intellectually profound and visually spectacular.

“Yet, beyond the creative process lies a more painful reality. We continue to face enormous challenges at a time when artistic undertakings are increasingly being discouraged in many schools. One cannot help but ask, Why?

“Why should the arts, which cultivate imagination, critical thinking, empathy, patriotism and cultural identity, be treated as expendable? Theater has always been more than entertainment. It is education. It is history. It is a mirror that reflects who we are and who we can become.”

“Rizal 3000” will tour venues across the Philippines until April 2027 to bring its powerful message of history, freedom and national identity to audiences nationwide.

The musical imagines a Philippines ruled by the ruthless dictator Forti Zaragoza and his calculating wife, Rosinie. In this future, history itself has become a threat to those in power. Books are banned, education is controlled and the name Jose Rizal is forbidden. The regime understands a dangerous truth. People who remember and respect their heroes cannot be easily kept in chains.

At the center of this world is Iosephus Raval, the last surviving historian whose lifelong devotion to preserving Rizal’s life and works makes him a target of the regime.

“In raising our education curriculum, this year, there is a movement to augment RA 1425 better known as the Rizal law,” informed Tañada. “They are removing Rizal novels for college studies. Our only weapon to combat history distortion is our art. Hence, I wrote and directed ‘Rizal 3000,’ believing that DepEd [Department of Education] and CHED [Commission on Higher Education] will heed our call.

“Ang kasaysayan ay hindi dapat binubura o pinapalitan. Ang kasaysayan, si Rizal, Bonifacio at ang ating mga bayani, ay ang ating identidad bilang mga Pilipino. It’s not important for me to adapt anything from Broadway or West End. Because we can create our own based on our culture, the richness of our tradition, our history and our national identity.”

“Rizal 3000” is more than a futuristic retelling of Philippine history. It is the story about the power of education, the danger of historical amnesia and the courage required to stand again oppression 

Despite the obstacles, Tañada’s passion for the arts remains unwavering. “My heart refuses to surrender to indifference or discouragement,” he said. “As long as there are stories worth telling, truths worth defending and young minds waiting to be inspired, I will continue  to write, direct and bring these stories to life.”

If “Rizal 3000” leaves the audience with one lasting thought, let it be this: A nation that forgets its history risks surrendering its future. “May this musical reminds us that freedom begins with the memory, that courage begins with truth and that the arts remain among the most powerful guardians of both,” said Tañada.

“This is our offering. This is our stand and this is our unwavering belief that theater can still change lives.”

The production features an ensemble of Philippine theater performers, with several artists alternating in key roles. Tañada alternates with Vance Larena and Joseph Tañada as historian Iosephus Raval. Johnrey Rivas, John Arcenas and Ken Intano play Jose Rizal, whose life and ideals remain at the heart of the musical’s history.

The role of Franchesco, Iosephus’ son and the young bearer of his father’s legacy, is shared by Peter Parker Tañada, James Ramada and Toby Nicanor, while James Tañada, Gerald Magallanes and JR Lopez alternate as Forti, the dictator determined to suppress the nation’s historical memory.

Seasoned actress OJ Arci portrays Madame Rosinie Raventhorne, Forti’s calculating wife. She is also the production manager of the musical, while Anthony Cruz is the choreographer.

Tañada and Rivas recently left for Athens, Greece to stage “Bayan-Bayanan: Letters from Home (The Musical),” the musical reimagining of Bienvenido Noriega’s classic play, “Bayan-Bayanan,” October 18 at the Parnassos Literary Society Theater. At the helm is Dr. Anton Juan. The musical will be presented for both the Greek and Filipino communities.