***Concert Review: Lea Salonga at Dr. Phillips, Orlando***
Write-Up and Photos by: Bailey Guinigundo
(Dr. Phillips, Orlando FL) Tony Award winner and global icon Lea Salonga delivered a masterclass in vocal artistry Saturday night at the Dr. Phillips Center for the Performing Arts, marking the 34th and final stop of her 2025 "Stage, Screen & Everything In Between" North American tour. Ending the tour in Orlando felt fitting—an evening defined by reflection, precision, and an unmistakable sense of celebration.
The show opened with her exceptional six-piece ensemble performing instrumental highlights from the canon of music that has defined Salonga’s storied career. As she emerged onto the stage—graceful, poised, and instantly commanding—she launched into Pure Imagination from Willy Wonka & the Chocolate Factory. The choice was inspired, whimsical yet introspective, and seamlessly transitioned into A Million Dreams from The Greatest Showman, creating a medley that felt both nostalgic and aspirational, setting the emotional tone for the night.
Leaning into her deep love of musical theatre, Salonga offered a slowed-down, emotionally resonant rendition of Sara Bareilles’ She Used to Be Mine from Waitress. Stripped of excess, the performance allowed every breath, every ache, and every moment of vulnerability to land with stunning clarity.
Somewhat surprisingly, she followed with the Bee Gees’ Stayin’ Alive. It was here that the true brilliance of the evening’s arrangements became apparent. These were not designed to overwhelm with driving percussion or flashy guitar solos; rather, they were meticulously crafted to foreground Salonga’s voice. Each song selection felt intentional—chosen specifically to illuminate a different facet of her vocal arsenal: control, warmth, power, and emotional intelligence. To the discerning ear, it was a lesson in restraint and mastery.
Between songs, Salonga engaged the audience with thoughtful reflections. At one point, she spoke about how music has the power to instantly transport us back to very specific moments in our lives, particularly through film. This sentiment segued beautifully into a movie medley that stirred collective memory, featuring selections from Robin Hood: Prince of Thieves, the 1981 classic Arthur, Titanic, and The Breakfast Club. Each phrase felt like a snapshot in time, delivered with elegance and emotional precision.
Salonga then turned inward, reflecting on moments of “firsts”—the first time she won a Tony Award, the first time she stepped onto a Broadway stage, the first time she realized her voice could change the trajectory of her life, and the first time she felt the weight and responsibility of representing her culture on a global stage. The theatre nearly erupted when the opening notes of Movie in My Mind from Miss Saigon rang out, followed by a commanding performance of Last Night of the World.
Up to this point, her performance had been immaculate—precise, deliberate, and technically flawless. But there is a noticeable shift when Salonga sings Broadway. Her delivery becomes even more powerful, more confident, and entirely consuming. Her presence transforms the stage into something otherworldly. Just when you think you’ve heard greatness, she elevates it to perfection.
The first set concluded with a Sondheim classic, Being Alive. Salonga joked that, ironically, neither of her famously portrayed characters from Miss Saigon or Les Misérables survived to the final curtain. She also described Company as the “perfect musical,” noting—half joking, half manifesting—that this performance was her way of willing a future role in the show into existence.
During the 20-minute intermission, audience members made a beeline for the merchandise table after Salonga mentioned that a portion of the proceeds would benefit charity—an act that further endeared her to an already devoted crowd.
The second set featured works by songwriting legends Rodgers & Hammerstein and Sondheim, but the Orlando audience truly lost its collective mind when Salonga launched into a Disney medley. Featuring Part of Your World, A Dream Is a Wish Your Heart Makes, Home (a tender, often-overlooked gem from Beauty and the Beast), Colors of the Wind, and Let It Go, the sequence was nothing short of magical—a reminder of how deeply her voice is woven into the fabric of multiple generations.
A beautifully understated rendition of Edelweiss from The Sound of Music followed, offering a gentle, nostalgic pause and a lovely nod to the golden age of musical theatre.
Salonga then turned to acknowledge her Filipino supporters. With warmth and humor, she joked about the nurses in attendance and the potential healthcare crisis caused by their collective absence from the hospitals that evening. Addressing the audience in Tagalog, she performed Kailangan Kita by beloved Filipino songwriter Ogie Alcasid. Even for non-Tagalog speakers, the song’s emotional arc and dynamic musicality communicated love, longing, and devotion with striking clarity.
She leaned even further into Disney nostalgia by revisiting her iconic roles, delivering a flawless Reflection from Mulan and A Whole New World as Princess Jasmine—both met with thunderous applause.
One of the most poignant moments of the night came with On My Own from Les Misérables. Closing my eyes, I was transported back to seeing a young Filipina, clad in a trench coat and flat cap, unleashing one of the most powerful voices theatre has ever known. The passage of time had only deepened its impact.
Salonga returned for two encores, closing the night with a breathtaking Somewhere Over the Rainbow, followed by a holiday-tinged Have Yourself a Merry Little Christmas, sending the audience home uplifted and emotionally full.
This performance was deliberate, intentional, and polished to a degree that only a global phenomenon like Lea Salonga could achieve. Her vibrato was exquisite, her phrasing immaculate, and her control so precise that some notes seemed to suspend time itself. Certain songs felt as though they could go on forever—in the best possible way—each note an invitation to listen more closely, to lean in just a bit more.
While the casual attendee may not have caught every technical nuance on display, there are only a rare few singers in the world capable of performing at this heightened level, let alone making it appear so effortless.
Lea Salonga was flawless—her voice almost too perfect to comprehend. I am genuinely thrilled that she chose Orlando as the final stop on this remarkable tour. This was, without question, one of the finest concerts I’ve ever attended, and I sincerely hope she returns someday to grace us once again with her extraordinary artistry.
Write-Up and Photos by: Bailey Guinigundo
(Dr. Phillips, Orlando FL) Tony Award winner and global icon Lea Salonga delivered a masterclass in vocal artistry Saturday night at the Dr. Phillips Center for the Performing Arts, marking the 34th and final stop of her 2025 "Stage, Screen & Everything In Between" North American tour. Ending the tour in Orlando felt fitting—an evening defined by reflection, precision, and an unmistakable sense of celebration.
The show opened with her exceptional six-piece ensemble performing instrumental highlights from the canon of music that has defined Salonga’s storied career. As she emerged onto the stage—graceful, poised, and instantly commanding—she launched into Pure Imagination from Willy Wonka & the Chocolate Factory. The choice was inspired, whimsical yet introspective, and seamlessly transitioned into A Million Dreams from The Greatest Showman, creating a medley that felt both nostalgic and aspirational, setting the emotional tone for the night.
Leaning into her deep love of musical theatre, Salonga offered a slowed-down, emotionally resonant rendition of Sara Bareilles’ She Used to Be Mine from Waitress. Stripped of excess, the performance allowed every breath, every ache, and every moment of vulnerability to land with stunning clarity.
Somewhat surprisingly, she followed with the Bee Gees’ Stayin’ Alive. It was here that the true brilliance of the evening’s arrangements became apparent. These were not designed to overwhelm with driving percussion or flashy guitar solos; rather, they were meticulously crafted to foreground Salonga’s voice. Each song selection felt intentional—chosen specifically to illuminate a different facet of her vocal arsenal: control, warmth, power, and emotional intelligence. To the discerning ear, it was a lesson in restraint and mastery.
Between songs, Salonga engaged the audience with thoughtful reflections. At one point, she spoke about how music has the power to instantly transport us back to very specific moments in our lives, particularly through film. This sentiment segued beautifully into a movie medley that stirred collective memory, featuring selections from Robin Hood: Prince of Thieves, the 1981 classic Arthur, Titanic, and The Breakfast Club. Each phrase felt like a snapshot in time, delivered with elegance and emotional precision.
Salonga then turned inward, reflecting on moments of “firsts”—the first time she won a Tony Award, the first time she stepped onto a Broadway stage, the first time she realized her voice could change the trajectory of her life, and the first time she felt the weight and responsibility of representing her culture on a global stage. The theatre nearly erupted when the opening notes of Movie in My Mind from Miss Saigon rang out, followed by a commanding performance of Last Night of the World.
Up to this point, her performance had been immaculate—precise, deliberate, and technically flawless. But there is a noticeable shift when Salonga sings Broadway. Her delivery becomes even more powerful, more confident, and entirely consuming. Her presence transforms the stage into something otherworldly. Just when you think you’ve heard greatness, she elevates it to perfection.
The first set concluded with a Sondheim classic, Being Alive. Salonga joked that, ironically, neither of her famously portrayed characters from Miss Saigon or Les Misérables survived to the final curtain. She also described Company as the “perfect musical,” noting—half joking, half manifesting—that this performance was her way of willing a future role in the show into existence.
During the 20-minute intermission, audience members made a beeline for the merchandise table after Salonga mentioned that a portion of the proceeds would benefit charity—an act that further endeared her to an already devoted crowd.
The second set featured works by songwriting legends Rodgers & Hammerstein and Sondheim, but the Orlando audience truly lost its collective mind when Salonga launched into a Disney medley. Featuring Part of Your World, A Dream Is a Wish Your Heart Makes, Home (a tender, often-overlooked gem from Beauty and the Beast), Colors of the Wind, and Let It Go, the sequence was nothing short of magical—a reminder of how deeply her voice is woven into the fabric of multiple generations.
A beautifully understated rendition of Edelweiss from The Sound of Music followed, offering a gentle, nostalgic pause and a lovely nod to the golden age of musical theatre.
Salonga then turned to acknowledge her Filipino supporters. With warmth and humor, she joked about the nurses in attendance and the potential healthcare crisis caused by their collective absence from the hospitals that evening. Addressing the audience in Tagalog, she performed Kailangan Kita by beloved Filipino songwriter Ogie Alcasid. Even for non-Tagalog speakers, the song’s emotional arc and dynamic musicality communicated love, longing, and devotion with striking clarity.
She leaned even further into Disney nostalgia by revisiting her iconic roles, delivering a flawless Reflection from Mulan and A Whole New World as Princess Jasmine—both met with thunderous applause.
One of the most poignant moments of the night came with On My Own from Les Misérables. Closing my eyes, I was transported back to seeing a young Filipina, clad in a trench coat and flat cap, unleashing one of the most powerful voices theatre has ever known. The passage of time had only deepened its impact.
Salonga returned for two encores, closing the night with a breathtaking Somewhere Over the Rainbow, followed by a holiday-tinged Have Yourself a Merry Little Christmas, sending the audience home uplifted and emotionally full.
This performance was deliberate, intentional, and polished to a degree that only a global phenomenon like Lea Salonga could achieve. Her vibrato was exquisite, her phrasing immaculate, and her control so precise that some notes seemed to suspend time itself. Certain songs felt as though they could go on forever—in the best possible way—each note an invitation to listen more closely, to lean in just a bit more.
While the casual attendee may not have caught every technical nuance on display, there are only a rare few singers in the world capable of performing at this heightened level, let alone making it appear so effortless.
Lea Salonga was flawless—her voice almost too perfect to comprehend. I am genuinely thrilled that she chose Orlando as the final stop on this remarkable tour. This was, without question, one of the finest concerts I’ve ever attended, and I sincerely hope she returns someday to grace us once again with her extraordinary artistry.
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