MANILA — It’s not as if “Ang Huling El Bimbo” didn’t hint at a tragic turn in its story in its opening minutes, and yet when the pivot did unfold on stage, it was jarring to the point of making jaws drop given how wonderful everything seemed to be up until that part.

For the uninitiated, this is a spoiler-free review. But fans who saw the play during its debut run in 2018 will know precisely the moment where the weaving of the songs of the Eraserheads transitions from hopeful to harrowing.

“Ang Huling El Bimbo” follows the story of four friends, switching settings between their colorful college days and the decidedly glum depiction of the present.

On the sophomore run’s Thursday gala night, playing the present-day and young versions of the characters, respectively, were Gian Magdangal and Bibo Reyes as Hector, OJ Mariano and Boo Gabunada as Emman, Jon Santos and Phi Palmos as Anthony, and Menchu Lauchengco-Yulo and Gab Pangilinan as Joy.

The younger set, fresh-faced and with individual struggles far outweighed by their optimism, shared a delightful chemistry that makes one root for them to reach their dreams. That there were interspersed appearances of their weary adult selves in the first act layered a sense of foreboding to the otherwise jovial time in the ‘90s.

That journey is chronicled through tunes of Eraserheads so cleverly pieced together (whether in terms of succession or a surprisingly compatible mashup) and freshly arranged (to be more somber or upbeat), that the lyrics felt organic to the story.

Particularly heartwrenching was the recurring take on “Ligaya,” with portions of its lyrics isolated for different scenes that effectively evolved the song’s meaning throughout the play. The recognizable melody would return, but with emotions more urgently felt as the stakes got higher.

To identify where the titular song is performed would be to spoil a major plot point, but suffice it to say that the inherent nostalgia of the classic elicited more of the pain of longing, than the warmth of fond memories.

The (painfully) brilliant sowing of the script (Dingdong Novenario) and musical direction (Myke Salomon) resulted in something so raw and familiar that the stage, at times, felt disproportionately large to the intimacy of it all. One might imagine how certain climactic scenes could be a landslide, and not just a storm, of emotions if the play were staged in a more compact space.

But that’s not to say “Ang Huling El Bimbo” fell short of maximizing the significantly bigger Newport Performing Arts Theater of co-producer Resorts World Manila. In fact, in many ways, it did.

Highlights of the scenic design (Gino Gonzales) included a carinderia set which could be seen from all sides as a portion of the stage revolved, often allowing for dramatic transitions. Also memorable were depictions of a road trip to Antipolo with an actual vehicle, complemented by projections (GA Fallarme) and lights (Monino Duque) that made it all the more immersive.

Not often do lights flicking on rouse an audience to spontaneous applause, but one imagery in “Ang Huling El Bimbo” did just that, particularly with the simple addition of one character to a reprise of the road trip. It has all the makings of an iconic stage moment, not only because of what’s seen, but what’s felt after a three-hour journey with the characters from past to present.

If only for that, the Dexter Santos-directed “Ang Huling El Bimbo” managed to provide some comfort, and sense of hope, after a second act that was decidedly bereft of the youthful charm of the first half.

Fans looking to enjoy the music of Eraserheads will definitely get a lot of that here, with the iconic discography given new flavor with the help of the Manila Philharmonic Orchestra.

“Enjoy,” however, is used here loosely, as the woven story aims for, and expertly lands, an emotional impact that invites audience to reassess one’s own quest for happiness and being saved, and whom to rely on for it. That “Ang Huling El Bimbo” is so affecting and cathartic is a testament to its four-year creative process, as well as the fine-tuning between its first and second runs.

Theatergoers who have seen it the first time can expect new scenes and dialogue, while those still on the fence can trust “Ang Huling El Bimbo” is a must-see — one that engulfs precisely because it’s no easy viewing.