An explosion of youthful energy. Such characterized the opening ceremonies of the International Dance Xchange Festival and Workshop of the National Committee for Culture and the Arts (NCCA), held recently at the big City Coliseum of Puerto Princesa, capital of fabled Palawan.
Asian countries with active community-based theater groups exchanged ideas on how to utilize the performing arts in boosting tourism and the creative industries during the first Likha Asya conference recently in Bohol.
For the past 20 years, Playshop has been setting the stage for anyone and everyone who has the passion and drive to make their dreams of performing for hundreds and thousands of people come true.
It was a triple whammy for prima ballerina Lisa Macuja in her “Swan Song Series 2012” at the Star City Complex: “Don Quixote,” “Giselle” and “Carmen.”
In these times of pirated DVDs, torrents, iPad apps and smartphones, going to the theater to watch a play or a musical is something not a lot of teenagers and young people like to do—but should. It doesn’t just promote love for music, arts and performance, it also develops focus, since a lot of people from today’s generation have short attention spans.
While Matthew Broderick clearly can take a joke, it might be best if he skips the latest edition of the theater spoof “Forbidden Broadway.”
Meet Elaine Margaret Reyes Lisondra and Giles Earvin Santos—they’re just two of more than 80 Filipino performers in HK Disneyland.
The Philippine Legitimate Stage Artists Group, Inc. (PhilStage), the country’s only alliance of professional performing arts companies, announces the staging of the awarding ceremonies of the 2011 Gawad Buhay!: The Philstage Awards for the Performing Arts, on July 1, 7 p.m., at the Cultural Center of the Philippines’ Main Theater Lobby.
Gripping is the word for Repertory Philippines’ musical “Jekyll & Hyde” by Wildhorn-Bricusse (at Greenbelt 1 OnStage, directed by Menchu Lauchengco-Yulo) with Michael Williams playing the main character(s) in a bravura singing-and-dancing performance.
For its first production this year, Repertory Philippines mounted a significant comedy-drama with a heart, Geoffrey Nouffts’ “Next Fall” (OnStage, Greenbelt 1, directed by Audie Gemora).
Filipino-American tenor Arthur Espiritu, 36, is a new name in the Philippine performing arts scene where opera productions come few and far between.
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