Here’s Where Pia Wurtzbach, Kim Chiu, and Heart Evangelista Are Spending their Holy Week
Where in the world are you spending Holy Week? For our local celebrities, their long weekend plans consist of various destinations. Some are…
The Tony and Olivier Award-winning “Spring Awakening,” with music by Duncan Sheik and libretto by Steven Sater, is billed as a “rock musical.”
UP Playwrights’ Theatre’s “Nana Rosa”—an essential but problematic play—was perhaps the quarter’s most visible, university-based show, but it wasn’t the only one.
How director Bobby Garcia ends his staging of Tony Kushner’s “Angels in America: Millennium Approaches” is the very definition of big dick energy
Original Filipino musicals led the nominations for the 11th Philstage Gawad Buhay Awards for the Performing Arts. Audie Gemora...
“He was an atypical artist—almost ego-free.”
“He was an atypical artist—almost ego-free.” Tanghalang Pilipino (TP) artistic director Fernando “Nanding” Josef is describing award-winning theater costumer and...
Great news: You can now listen to Myke Salomon’s radical, revivifying take on the seminal Filipino rock band Eraserheads in the comfort of home or car or computer.
One of the ensemble members, then a newbie to professional theater, was Miguel Faustmann.
The thing with musical theater royalty—those immortal, wildly popular pieces such as “Les Miserables” or “The Phantom of the Opera”—is that it either completely blows you away or it doesn’t. There is no middle ground.
There was a time when the musicals of Repertory Philippines were actually highlights of their seasons—for instance, Menchu Lauchengco-Yulo’s refreshingly scaled-back “Jekyll and Hyde” in 2012; or Jaime del Mundo’s romp of a production that was “The Producers” in 2013; or even 2009’s “Sweeney Todd,” which, while too “safe and bloodless,” as Inquirer’s former theater editor Gibbs Cadiz wrote, was nevertheless “expertly sung, technically polished [and] thrilling in moments.”
