SHOPPING LIST: Cost-efficient beauty finds worth your payday weekend splurge
Ah, yes, the legendary payday weekend where all dreams come true. At least for a few days. And then we start dreaming of…
The Holy Mother of God. The Blessed Madonna. The Queen of Heaven. These are but a few of the dozens of equally exalted titles with which the Roman Catholic Church and her devotees call Mary, mother of the biblical Jesus.
As a young boy 20 years ago, Steven Conde saw onstage a talking and singing lion in Trumpets’ theatrical production of C.S. Lewis’ classic fantasy novel, “The Lion, The Witch and the Wardrobe.”
How long can a couple’s marriage last if they can’t talk to each other? If one partner keeps repeating the error of his ways, should his long-suffering wife keep forgiving and taking him back? How can reconciliation happen if communication does not even exist?
Explaining why her play “Stop Kiss” remains relevant after its 1998 off-Broadway debut, American playwright Diana Son was quoted: “Because unquestionably the last beat of the play is, love wins.”
The Atlantis Theatrical Entertainment Group’s “Beautiful: The Carole King Musical” certainly lives up to its name when it comes to production values and the sheer energetic execution of its feel-good material.
The 11th Philstage Gawad Buhay Awards at Onstage Theater, Greenbelt 1, was both a celebration and a call to arms for the next generation to build on the legacy of its forefathers in the arts.
The 11th Philstage Gawad Buhay Awards marked two sister theater companies’ joint anniversary celebrations in 2019.
Fifteen years after its first staging in Manila, Floy Quintos’ “Laro” has lost none of its justly earned bite, pathos and poignancy.
Admittedly, the main draw of Repertory Philippines’ “The Dresser” is watching two leading men of Philippine theater, Audie Gemora and Teroy Guzman, play off of and against each other.
In her forays into theater, film and TV, Cherie Gil has mesmerized audiences with her performance as the legendary diva Maria Callas in “Master Class,” stood toe-to-toe with theater stalwarts as the bitchy Baroness in “The Sound of Music,” and deteriorated with dignity as the impoverished heiress in “Arbol de Fuego.”
