Before Ibalong Z, there was Ibalong (or Ibalon), the 60-stanza poem narrative about old Bikol, believed to be written by Fray Bernardino de Melendreras, OFM.

Ibalong Z: A New Bikol Musical reimagines the celebrated Bikol epic for today’s young audiences, offering a vibrant, contemporary retelling that resonated strongly with Gen Z and Gen Alpha viewers. Staged from August 13 to 15, 2026 at the Ibalong Centrum for Recreation as part of the Ibalong Festival 2026 in Legazpi City, the landmark production fused theater, dance, modern choreography, and dynamic musical scoring to breathe new life into one of the region’s most enduring cultural narratives.

The musical was a collaboration among the City Government of Legazpi, Sining Banwa PH, and Tanghalang Pilipino. Written by Jobert Grey Landeza, with music score by Karl Ramirez and direction by Sari Saysay, the show sought not merely to present the epic but to make it accessible, relatable, and emotionally engaging for younger generations who may know Ibalong only through textbooks or festival imagery. This creative mission shaped every aspect of the production—from its contemporary soundscape to its youthful cast and its emphasis on movement-driven storytelling.

Words of accolade for Ibalong Z

DALAN Blogspot

Writing on his dalankita.com blogspot on August 17, 2026, Harvey Valdez, Founding Director of DALAN, a theater production, ticketing, and marketing organization based in Naga City, asks a contemporary question about Ibalong Z:

“What happens to a story when the generation expected to remember it begins to forget? And perhaps more importantly: how do we make them care again?”

Ibalong Z marks a significant moment in contemporary Bikol theatre: a full‑length musical that honors one of the region’s oldest narratives while speaking directly to the cultural anxieties of the present.

Valdez states further in his theater review, Ibalong Z begins by reframing the Ibalong epic not as a tale belonging solely to Legazpi or Albay, but as a narrative woven across the wider Bikol landscape—its rivers, mountains, volcanoes, disasters, peoples and migrations. The surviving text invokes Masaraga and Lignon, but also Asog, ancient Isarog, Ponong and Panicuason. This expansive geography becomes central to the show’s argument: Ibalong is a regional imagination, not a provincial possession, and its transmission matters as much as its origins.

Valdez notes, Ibalong Z’s theme is dramatized through Rodel, an aspiring musician whose grandfather, a Kadunong or keeper of memory, entrusts him with the responsibility of preserving the epic. Rodel is reluctant, distracted, and initially motivated more by personal reward than cultural duty. His journey toward Libon becomes a metaphor for the struggle of younger generations navigating a world saturated with digital noise, fleeting trends and disposable information. Along the way, he encounters mythic figures—Hilang, Iling, Laryong, Dinahong, Kimantong, Sural and Hablom—who fear being forgotten and question whether Rodel is worthy of becoming a Kadunong.

Valdez continues, Ibalon Z’s world expands with appearances by Oryol, creatures from Isla nin Gagamban, and legendary heroes Baltog, Handyong and Bantong. Yet these figures are not treated as museum artifacts. The production shifts fluidly between folklore, comedy, adventure, ritual, concert and contemporary musical theatre. It jokes, sings, surprises and invites audience participation. This dynamism reflects a key insight: younger audiences cannot be compelled to care about an epic simply because it is historically important—they must be given a reason to listen.

Karl Ramirez’s score plays a crucial role. Blending pop, rap, hip‑hop and modern musical theatre with a distinctly Bikol sensibility, the music is memorable enough to linger long after the curtain falls. The result is a retelling that respects the surviving 60 stanzas of Fray Bernardino de Melendreras, OFM while speaking in a language today’s audiences understand.

In closing, Valdez asserts that Ibalong Z ultimately succeeds not by merely retelling the epic, but by passing it on to the younger generation. It invites LGUs across Bikol, to claim the story as theirs and bring the musical to their communities. Its greatest accomplishment is simple yet profound: it makes audiences want to remember.

BicoldotPH’s review

Hannah Franchezka Boragay, a correspondent for Legazpi City based BicoldotPH, reports about Ibalong Z: A New Bikol Musical on the media and news company’s FB page dated August 16, 2026:

“At the heart of the production was an attempt to make Ibalong more accessible to Gen Z and Gen Alpha while keeping them connected to Bicolano history, culture and identity.”

Writing about the playwright Jobert Grey Landeza, Boragay says that the task of adapting Ibalong Z came with both pressure and purpose. Invited in May to develop a new musical for the festival, he had only three weeks to complete the script. The first week was devoted to intensive research, consulting books, journals, and available materials on the epic. The next two weeks were spent crafting a narrative that honored the original while speaking in a language today’s youth could embrace. The tight timeline, he said, became an unexpected catalyst for collaboration, bringing together artists from Legazpi City and across Bicol who contributed to the production’s creative energy.

According to Boragay, who also serves as interim editor-in-chief of the The Archers’ Point, the FB page of Bicol University, College of Arts and Letters, the musical’s impact was most visible in the reactions of young audiences. Students from Legazpi City Science High School described the show as both visually captivating and narratively clarifying. Jan Ignatious Bustillos noted how the performers’ movements carried meaning and helped propel the story, making the epic easier to follow. Another student, Vanxavier Butch Lroy Muñoz, praised the coordination among the actors and the overall stage production, saying the performers’ interpretations deepened his understanding of the story. Their responses reflected how the musical succeeded in bridging a cultural gap—transforming a centuries-old tale into a form that felt immediate and relevant.

Furthermore, as Boragay reports, young artists were equally central to the production’s spirit. Monica Aranil, 21, who played Hablom, described Ibalong Z as one of her most memorable theater experiences. For her, performing in the musical was not only an artistic opportunity but also a responsibility to help keep Bicolano stories alive. She expressed gratitude for the community’s support and urged fellow artists to continue telling local stories beyond the stage.

For the creative team, Boragay notes that the most rewarding outcome was hearing students and young viewers say they enjoyed and understood the epic. Audiences from neighboring towns also attended, signaling a growing interest in theater in Legazpi City. As the curtains closed on August 15, Ibalong Z left behind a larger question: how can ancestral stories continue to find meaning among young Bicolanos today? The musical offered one compelling answer—retell them in forms that new generations can claim as their own.

Praise from Konsi Alan O. Rañola

Konsi Alan O. Rañola, Legazpi City Councilor and public figure, reflects on the success of Ibalong Z: A New Bikol Musical:

“Behind every standing ovation, every loud applause, and every emotional reaction from the audience is a story of passion, hard work, sacrifice, teamwork, and love for Bicolano culture. Ibalong Z is more than just a musical. It is a celebration of our identity, our heritage, our legends, and the stories that have been passed down through generations.”

On his FB page, Councilor Rañola writes, While the original epic has been staged in various interpretations, Ibalong Z distinguishes itself through the sheer breadth of collaboration behind it. Its success is not confined to the spotlight. It is built on the dedication of performers who poured their hearts into every scene, musicians who shaped its sonic landscape, choreographers and directors who refined its movement and storytelling, and production teams who ensured every detail worked seamlessly. Creatives, organizers, partners, and supporters all became essential threads in the tapestry of the musical’s journey.

He says, The overwhelming audience response—marked by loud applause, emotional reactions, and repeated standing ovations—affirmed that the collective labor was worthwhile. Ibalong Z resonated deeply because it was created not merely to entertain, but to uplift Bicolanos. It brought ancestral stories to life, amplified cultural pride, and bridged generations through shared memories and artistic expression.

Councilor Rañola’s accolade honors the entire Ibalong Z, Ultimately the musical’s triumph is a story of culture, unity, perseverance, and love for Bicol. It reminds the community that Bicolano narratives deserve to be seen, heard, and celebrated widely. He invokes, “Dagos, Bicol—our story continues.”

Thumbs up from a Gen Z voice

BicoldotPH reached out to Zoomers (ages 13-29) and Post-Millennials (ages 1-13) from among the audience to survey what they thought about Ibalong Z. In response, Dave Jaymalin (age 15) stepped up. These are the remarks from the youthful theater critic:

“Before watching Ibalong Z, I thought of Ibalong as just some other epic that explained the land of Bicol. After watching it, that didn’t really change, but it helped me visualize all of the different events that happened in the story. It really helped me know what happened because the use of Gen Z language helped explain the story much deeper.”

Dave Jaymalin’s reflection centers on how the production successfully translates a centuries‑old epic into a form that resonates with Gen Z audiences. What stood out most to him was the show’s unapologetic use of Gen Z humor, slang, and meme culture—elements like the “67” slang (pronounced “six-seven”)—woven seamlessly into the narrative. This stylistic choice, he argues, makes the epic’s deeper Bikolano terms and cultural references easier for young viewers to absorb. Instead of presenting Ibalong in a distant, formal tone, the musical speaks in the language of its audience, creating an accessible entry point into regional heritage.

Jaymalin highlights Rodel, the modern teenager who wants to leave Bicol, as the emotional anchor of the story. Rodel’s reluctant involvement with the epic’s heroes—who appear in present‑day Legazpi City asking to be remembered—mirrors the dilemma faced by many young Bicolanos: how to care about a cultural narrative that feels remote. As Rodel gradually forms genuine bonds with the characters and embraces the responsibility of preserving their stories, the musical illustrates how heritage can be reclaimed when retold in a contemporary voice.

With a sharp eye for details, Jaymalin notes minor flaws, such as filler scenes and lengthy dialogue near the end, he emphasizes that the production remains lively, theatrical, and educational. The condensed format still captures the essence of the epic, and the audience’s enthusiastic reactions—laughing, cheering, responding to interactive moments—show that the musical connects deeply with its intended viewers.

Ultimately, Jaymalin “one hundred percent” recommends Ibalong Z to his peers, calling it both entertaining and an effective gateway to understanding the Bikol epic.

ABOUT THE IBALONG Z CREATIVE TEAM

Jobert Grey Landeza, Karl Ramirez, and Sari Saysay form a young but already influential creative triad in contemporary Bikol theater.

Jobert Grey Landeza — Playwright

Jobert Grey Landeza is a Bicolano playwright whose work has gained national visibility through the Virgin Labfest, the Cultural Center of the Philippines’ annual festival for new plays. His pieces such as Titser Kit and Mommy G have been staged at VLF, reflecting his interest in socially grounded narratives and contemporary Filipino experiences.

Landeza is also known for his work with Bicol University’s theater program, where he wrote and coached A Trip to Buwan, a musical that won gold at the PASUC National Culture and Arts Festival 2026. His writing often explores themes of family, identity, and emotional resilience.

For Ibalong Z, Landeza was commissioned by the City Government of Legazpi, Tanghalang Pilipino, and Sining Banwa to craft a new adaptation of the epic. He completed the script under a tight three‑week deadline, combining research with a contemporary storytelling approach aimed at Gen Z and Gen Alpha audiences.

Karl Ramirez — Composer & Music Director

Karl Ramirez is a multi-awarded Bicolano activist singer, song writer, music arranger and producer, and front man of the alternative pop-rock band Pordalab. He is the co-founder of Bicol Pop. Since 2021, the movement has consistently developed live performance platforms to spotlight on original Bikol music. It strives to push Naga City’s music industry a notch higher with the launch of the Pagsibol Songmaking Classes.

A versatile musician, he writes and produces music in a wide spectrum of styles and usage – advocacy, radio, film, theater, and commercial music. His discography includes socially engaged pieces and collaborations with cultural organizations, as reflected in public playlists and releases featuring his compositions.

In Ibalong Z, Ramirez created a score that blends pop, rap, hip‑hop, and modern musical theater, designed to make the ancient epic accessible to younger audiences while retaining its cultural weight. His music is central to the production’s dynamic energy and its appeal to student audiences across Bicol.

Sari Saysay — Director

Sari Saysay is a Bicolano theater director active in regional cultural work and contemporary stage productions. He is a seasoned theatre director with an impressive 20+ year career. As director of Ibalong Z, he led a collaborative team of Bicolano performers and designers, shaping the musical’s modern staging, choreography, and youthful tone.

His direction emphasizes accessibility and cultural grounding—balancing folklore, comedy, and adventure with a visual and performative style that resonates strongly with student audiences. The production’s reception highlights her role in strengthening Bikol theater and expanding its reach to new generations.

He wrote the play “Mga Aninipot Sa Tahaw Kan Salog” (Fireflies on the River), an environmental musical play. He wrote the script and directed “Joroan: A Bikol Musical.” He also directed “Higit sa Pag-Ibig, The Musical” a collaboration project between The Dawani Project and Sining Banwa.,

Featured header image (photo: Tanghalang Pilipino). This article was written by Jojo De Jesus for Dateline Ibalon based primarily on the FB posts of DALAN, BicoldotPH (Hannah Franchezka Boragay,and Dave Jaymalin), Konsi Alan O. Rañola, and the Ibalong Z creative team.