For ’80s kids and ’90s teens like myself, Gloria Estefan was one of the popstars whose cassette tape made its rotation in our household. I remember my parents took me to the concert of Gloria Estefan and the Miami Sound Machine in 1991 at the Folk Arts Theater, where we watched them perform hits such as “Anything For You,” “Cuts Both Ways,” “Here We Are,” “Don’t Want To Lose You,” and “Rhythm Is Gonna Get You.” As a pop culture vulture, I also distinctly remember how “Get On Your Feet” has become a staple concert song choice of many Filipino artists since then.

When 9 Works Theatrical announced their 2026 musical offering in the Proscenium Theater in Rockwell, I realized they’re on a roll when it comes to pop jukebox musicals. After last year’s The Bodyguard: The Musical, following suit with On Your Feet! The Story of Emilio & Gloria Estefan is another nod to the nostalgic era of ’80s-90s pop music. The big difference is that while most jukebox musicals come with a fictional story, this one is based on real life.

The musical, which debuted in Chicago and then on Broadway in 2015, is about the inspiring story of the 26-time Grammy Award-winning husband-and-wife duo, Emilio and Gloria Estefan, and their band, the Miami Sound Machine. It chronicles how their families fled Cuba for the American dream, how they grew up on the streets of Little Havana in Miami, how they fell in love, and how their music reached the top of the charts in the US and around the world. It also tackles the 1990 near-death bus accident of Gloria, and her struggles to get back on her feet after the life-threatening cervical fracture of her spine.

The book is written by Alexander Dinelaris Jr., while the musical score is built around Gloria and her band’s Cuban-fusion pop music. There is one original song, “If I Never Got to Tell You,” written by Gloria Estefan and composed by her daughter Emily. 9 Works Theatrical’s version is directed by Robbie Guevara, with Raul Montesa as assistant director, Daniel Bartolome as musical director, and Nunoy van den Burgh as choreographer.

I was invited to Wednesday night’s press preview. I brought my senior mom, who is in the same age group as Gloria. I grew up in a ballroom dancing family, so it only takes a few beats to get us grooving.

Mio Infante’s scenography, with the help of Gabo Tolentino’s lighting design and Justin Santiago’s video and projection design, maximized the use of the proscenium theater’s large space. It had just enough neon lights and flashy backdrops to give this musical the glitz and glamour it deserves.

The material is a mix of concert performances and flashbacks. While the script is telenovela-like with predictable plots and sometimes cheesy lines, it works for the Filipino audience that loves a good melodrama.

Gloria, embodied naturally by Kayla Rivera, starts as a 17-year-old budding singer and songwriter with a clear case of eldest daughter syndrome—first-born girls who shoulder excessive family responsibilities and emotional labor. Her growth from teenager to full-blown star comes across through her movements and costume changes. I’d love to watch again to see the take of Molly Langley, who alternates as Gloria.

Gloria’s father, Jose Fajardo, played by John Joven Uy, used to be a Cuban soldier and subsequently served in the U.S. Army. In the present view of the story, he is slowly succumbing to multiple sclerosis and can hardly speak. In the flashback scenes, he is played by Vien King, who gives the meat of the character.

Gloria Fajardo, played by Ayen Munji-Laurel, is Gloria’s strict and hardened mother who didn’t get to live her own dreams. This role marks Ayen’s theater comeback, and she shines in a glamorous, flashback musical number.

Grandmother/abuela Consuelo Garcia, played comically by veteran singer-actress Pinky Marquez, is the lovable consentidora, helping Gloria fight for her dreams and relationship with Emilio. But she wasn’t the only one who provided the comic relief in the musical. Keep an eye out for the triple-threat chorus members and some of their hilarious antics, such as the mariachi band scene.

American-Cuban singer/actor Jason Canela plays the dashing, visionary band leader, Emilio Estefan. His Cuban accent is obviously the most authentic, making his character shine as the love interest and immigrant fighting the cultural resistance in America. The only downside is that when you hear him converse with other cast members trying to work a similar accent, it highlights the disparity.

It’s interesting to see how they injected Gloria’s hits into the story beats of this biographical story—with some timings working better than others. I loved the build-up to Gloria’s career takeoff and the way they unveiled the rousing “Conga” and “Rhythm Is Gonna Get You.” When they started an actual conga line with audience participation, it was a breaking-the-fourth-wall moment where the audience could finally let loose.

Tip for those who want to join the conga line onstage: Purchase a ticket to the front and aisle seats so that the cast can easily pull you out from the crowd.

As for those who couldn’t partake of the conga line, it took a lot of willpower for us not to stand up and dance along like we’re in a club in Miami—or for a more Pinoy reference, like we’re ballroom dancing in ’90s Manila.

The orchestra, led by Daniel Bartolome, deserved their own standing ovation. They would switch from being hidden to theatrically revealed as part of the club and concert scenes, making us bop our heads to the music. They didn’t just provide the soul of the musical; they brought to life the Cuban roots of Gloria and Emilio’s music, down to every percussion beat.

With cassette tape players, cordless clunky telephones, and all the big ’80s wigs, the audience is taken back to decades past. The story reminds us of the challenges of getting your music out there long before the era of TikTok and social media influencing. It also showed us how Latin-American artists back then struggled to break into the American music industry, as seen with how Emilio was constantly pressured to change his sound and abandon his roots.

It’s too bad these struggles were only touched upon without really delving deeper, especially since this iconic crossover paved the way for other Latin-American artists. But what the story depth lacked, they made up for in flashy, danceable tracks that feed nostalgia.

 

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The final scene—a recreation of Gloria’s comeback in the 1991 American Music Awards—is a fitting tribute to the Queen of Latin Pop.

Overall, On Your Feet is an easy-to-digest, feel-good musical, especially for fans of Latin-American pop music and Gloria Estefan’s discography. It does succeed in getting people on their feet.

On Your Feet! The Story of Emilio & Gloria Estefan runs from July 10 to August 2, 2026 at the Proscenium Theater in Rockwell, Makati. Tickets range from ₱3,605 to ₱6,695, and are available at Ticketworld and Power Plant Mall Cinema. The musical runs for approx. 2.5 hours with a 15-minute intermission.

Cast: Kayla Rivera and Molly Langley alternating as Gloria Estefan; Jason Canela as Emilio Estefan; Ayen Laurel as Gloria’s mother, Gloria Fajardo; Pinky Marquez as Gloria’s grandmother, Consuelo Garcia; John Joven Uy as Gloria’s father, Jose Fajardo; Vien King as Young Jose Fajardo; Jani Magadia as Gloria’s sister, Rebecca Fajardo; Anyah de Guzman as Rebecca Fajardo alternate and as Robin; Reese Iso and Althea Ruedas alternating as Little Gloria; Elian Santos and Manolo Villalva alternating as Young Emilio; Lorenz Martinez as Chris; Meliza Reyes Uy as Sonia; Neo Rivera as Phil; Antonio Valdez as Kiki; Altair Alonzo as Marquito; Roxy Aldiosa as Belen; Ellrica Laguardia as Lori; Matthew Barbers as Big Paquito; Carmelle Ros as Amilia; Winchester Lopez as Soldier and Dance Captain; Cheska Quimno as Lucia; Richardson Yadao as Kenny; Macel Dofitas-Yadao as Andrea; Gerhard Krysstopher and Lord Kristoffer Logmao alternating as Marcello; Jacqui Jacinto and Gianna Hervas alternating as Rachel; and Roni Paderes as DJ.

*Cast photos by Charles Villaruz courtesy of 9 Works Theatrical