Inside John Prats’ Rise as One of Live Entertainment’s Most Trusted Directors

A hesitation that changed everything

When John Prats was first offered a directing role in 2016, his initial reaction was doubt, not excitement. At the time, he was preparing to renew his contract with an entertainment company and was firmly established as an on-screen talent.

The offer to move behind the camera felt, to him, like a possible signal that his time in front of it was ending. “Oh my gosh, why me? Behind the scenes?” he recalls thinking. He wondered if it was “just a token job” or if people no longer wanted to see him on screen. He declined the opportunity.

In retrospect, John now sees that moment as a turning point rather than a setback. He continued acting, particularly through his long run on a widely acclaimed action and drama series in the Philippines, where he worked for seven years. During that period, encouragement to try directing came from people he respected who had worked with him since he was 14.

By 2017, the actor-turned-director decided to explore directing, beginning with television work on a talk show. What he discovered was a genuine interest in the creative and technical challenges behind production.

Finding his visual language

That interest deepened when he worked on Moira Dela Torre’s 2018 concert. At the time, John says he had a clear creative vision but lacked technical directing experience. “I had ideas and concepts but no technical knowledge,” he says. “I just knew the visual I wanted.” He wanted to bring a Manhattan Park–inspired atmosphere into the New Frontier Theater venue.

To execute the concept, he focused on building a strong team. He worked with a wedding designer to help shape the visual environment and relied on a production manager to help organize the technical and logistical aspects of the show. He also took on producing responsibilities.

The concert sold out in two days, and afterward, more artists began approaching him to direct their shows. “That’s when I really started enjoying the process of creating,” he says.

Building a reputation, one stage at a time

Since then, John has built a reputation in live event and concert directing, with a process centered on collaboration. He emphasizes that concerts are built around the artist’s identity and story.

Among the large-scale productions he has masterfully helmed is the historic success of TJ Monterde’s three-day sold-out Sarili Nating Mundo at the Araneta Coliseum, a landmark concert that later expanded into a 40-leg world tour, becoming one of the biggest touring runs by a Filipino act.

His impressive roster of sold-out and milestone productions spans some of the industry’s most celebrated names, including Kyla Soundscape (celebrating Kyla’s 25th anniversary), Erik Santos’ MilEStone: The 20th Anniversary Concert, FUSION: The Philippine Music Festival, SB19’s ThanksgIVing Anniversary Concert, the Catriona Gray Legacy Ball, SoliDYfied: A Decade of Jason Dy, Jaya All Hits: Homecoming Concert, 25K: K Brosas 25th Anniversary Concert, The Big Night Concert of Klarisse De Guzman, Champions of the Heart (Sofronio Vasquez, Jed Madela, Jona, Klarisse de Guzman, and Martin Nievera), and the first three rAWnds (rounds) concert Get, Get, Aw!: The Sex Bomb Concert, among many others.

Beyond concerts, his portfolio extends to international high-profile fan meet productions in the Philippines for some of Korea’s biggest stars, including Jessi, Kim Soo Hyun, Cha Eun Woo, Park Bom, EXO’s Baekhyun, Jeon Somi, and 10CM that drew massive audiences and further showcased his ability to mount internationally scaled experiences.

Most recently, he directed the record-breaking four consecutive sold-out nights at the Araneta Coliseum for TJ Monterde and KZ Tandingan’s In Between concert, another milestone in Philippine concert history, which was awarded as the first-ever Filipino couple to stage four consecutive sold-out shows at the Big Dome.

With another major production slated for 2026, such as the first-ever solo concert of G22 and I Belong To the Zoo at the New Frontier Theater, and the highly anticipated 20th anniversary concert of the country’s one and only Pop Rock Royalty Yeng Constantino at the Big Dome; John Prats’ growing slate of successes with Cornerstone Concerts continues to solidify his position as one of the country’s most in-demand and accomplished live event directors.

An artist-first philosophy

His collaborative approach is partly shaped by his early career experiences. As an actor, John often had creative ideas but limited opportunities to contribute to production decisions. Production timelines were fast, resources were limited, and there were no online references or real-time performance reviews, only recordings watched after the fact.

Now, he prioritizes giving artists space to participate in creative planning from the start. “Every concert is unique,” he says. “It reflects the artist’s story.”

At the same time, John is clear about the demands of commercial live entertainment. While he respects experimental and independent storytelling, he believes large-scale concerts must balance artistic expression with audience engagement. The goal, he says, is to ensure audiences across all ticket tiers have a meaningful experience.

Leading under pressure

Live events also require fast decision-making under pressure. He describes the director’s role as setting the emotional tone for the entire production team. “You can’t react impulsively,” he says. “The people around you, the crew, all look to you for guidance.”

He recalls an incident when, five minutes before a show, he was told only 20 percent of the LED screens would function. Instead of abandoning the visual plan, he worked with the team to adjust the lighting design to recreate the intended effect. The audience did not notice the technical issue. John says preparation is key to handling situations like this. “I always have a plan B, plan C,” he says.

Discipline is central to his directing philosophy. “Nothing should come easy,” he says. “Everything must be worked for.” He notes that different formats require different approaches. Television allows some improvisation. Music videos often allow experimentation. Live events, however, require detailed planning and execution.

Faith, focus, and the long view

Faith also plays a significant role in how he approaches his work. “Prayer is 80 percent of the job,” he says. “Execution is just 20 percent.”

He points to a 2020 Christmas special he directed as an example. At the time, he had only directed a three-camera talk show but was tasked with managing a twenty-camera live production. The show went smoothly, reinforcing his belief that faith and preparation go hand in hand.

For the director turned actor, the most rewarding part of directing is audience response:

His transition from performer to director is a huge shift in his career: from being the focus of the performance to shaping the experience for others. What once felt like an unexpected career detour has become a defining part of his professional identity.

Chief of Editorial Content Patrick Ty

Photography Karlo Torio

Fashion Rex Atienza

Art direction Mike Miguel

Editor Dayne Aduna

Grooming NIX Institute of Beauty

Special thanks Cornerstone Entertainment (Erickson Raymundo, President; Jeff Vadillo, Vice President; Caress Caballero, Ad & Promo Head; John Vincent Padlan, Ad & Promo Coordinator; Cynthia Roque, Handler; Justine Young, Road Manager)