JOHN Logan’s Tony-winning play “Red,” which made its Manila debut last year via a production of The Necessary Theatre starring Bart Guingona as the abstract expressionist Mark Rothko and Joaquin Valdes as his (fictional) apprentice, returns for eight performances at the CCP’s Tanghalang Huseng Batute.
The 4th Wall Theater Company (T4 Theater) brings back the original Filipino musical “Rivalry” with performances at the Cultural Center of the Philippines’ Tanghalang Aurelio Tolentino (CCP Little Theater) this weekend—Jan. 17 (8 p.m.), Jan. 18 (3 p.m. and 8 p.m.) and Jan. 19 (3 p.m.).
By Thelma Sioson San Juan
Supertyphoon “Yolanda” showed the best and the worst of social media. In the immediate aftermath, at least, there was none of the irreverent humor that Filipinos are known for, we who make fun of anything and anyone, even and especially our own misfortune. The enormity of the tragedy was such that not even the worst kibitzers on social media had the guts to post any wisecrack.
By Gibbs Cadiz
When “Katy” opened on Jan. 27 at the Cultural Center of the Philippines, not only was it the first local production to raise its curtain this year, it was also a harbinger of sorts.
By Bart Guingona
I had never really known Joaquin Pedro Valdes personally until I had him read for the part of Ken in John Logan’s “Red.” He was the last in a line of would-be Kens, each of whom was lacking in some way. Sure, I had seen him as a child actor in Trumpets’ “The Lion, the Witch and the Wardrobe,” but I had never really said anything to him before beyond a postperformance “Congrats!”
By Totel V. de Jesus
In his early years, before he became one of the leading figures of abstract expressionism in the last century, Mark Rothko had a short-lived career in theater.
Take a bow, Reto Klauser, GM of Makati Shangri-La. Red has become a brand name for excellence in food and ambience. What is it about Red that makes us feel private and cocooned with our own company of friends even while there’s a busy, busy buzz of strangers all about as all tables are taken? Could be the red (very) high-backed chairs that keep full exposure (and disclosure) at length. Could be the flattering (to the less endowed) well-lighted dimness that lets us people-watch without being watched back.