By Amadís Ma. Guerrero
“There is a shifting of emotions in this play; emotions not easy to internalize. There is an American element, but during rehearsals this becomes universal. May mga umiyak. The actors would sometimes cry during rehearsals because they were affected by the situation they were rehearsing, and relating it to their own stories.”
By Dennis N. Marasigan
A recent list by Entertainment Weekly of the best plays of the last 100 years prompted a timely question from the Script Analysis class I am conducting for the Tanghalang Pilipino Actors Company: Why is there no such list for Philippine theater?
By Irene Andrea C. Perez
Sheila Francisco’s upcoming first solo concert, “Once in a Lifetime,” has been a long-time dream of hers. For years, the seasoned theater actress has been keeping a journal where she jots down songs for a possible line-up, in case she gets to have her own show.
By Fran Katigbak
As it celebrates its 10th year, the Virgin Labfest should perhaps rethink defining itself as just a festival of untried, untested, unpublished and unstaged plays. It is all that—but, more importantly, the Labfest has become an oasis for the Filipino playwright, whether fledgling or not.
By Cora Llamas
In his speech during the Philstage Gawad Buhay 2013 Awards held last week at the Cultural Center of the Philippines (CCP), Chris Millado, the artistic director of that institution, hailed the event as more of a “celebration” and “not a competition.”