K-Pop’s BTS rocks out in ultra-conservative Saudi
Riyadh, Saudi Arabia | AFP | Saturday 10/12/2019 – 20:52 UTC+8 By: Aziz El Massassi The Saudi capital burst into life with…
From start to end, “Madagascar: A Musical Adventure” looks polished and effortless, progressing from scene to scene with professional ease....
It is easy to dismiss Trumpets’ “The Bluebird of Happiness”—which the Christian theater company dubs its “big musical comeback”—as just another extravagantly fantastical, unrestrainedly colorful kiddie show. When the musical’s first promotional posters were unveiled online some months ago, the central image of two children heading into the bluish unknown with the eponymous bird hovering in a trail of glitter seemed like a black box warning for those allergic to the cutesy, the silly and juvenile.
The past weekend of theatergoing can be summed up by the words of the esteemed playwright Glenn Sevilla Mas, who, in an exclusive interview last year
Sisters gone cuckoo and a pair of cancer-stricken kids were the unlikely stars of the two stage productions that played the Peta Theater Center’s Main Theater, during The Sandbox Collective’s multi-arts festival “The Imaginarium,” which ran Oct. 28-31.
One of the ensemble members, then a newbie to professional theater, was Miguel Faustmann.
When two of the country’s most prolific playwrights premiere new work within days of each other, one simply must pay attention, especially in this age of fake news and rampant historical revisionism.
Twenty-five productions, including 15 musicals, seven reruns and seven brand-new Filipino pieces, have already been announced for 2019.
The New York Times theater critic Ben Brantley, in a 2009 article titled “Want to Applaud a Broadway Show? Don’t Get Up. Really,” lamented the fact that standing ovations these days have become a “reflexive social gesture, like shaking hands with the host at the end of the party,” instead of a genuine postshow manifestation of roaring approval. Plus, “a standing ovation,” he continued, “seems to help confirm that the money wasn’t wasted.”
Three years ago, Philippine Educational Theater Association (Peta) put on a show that aimed to make Shakespeare more accessible to the Filipino youth by transplanting the Bard’s dated English to the hip language of rap. The play was “William,” and it was a gamble that handsomely paid off, in both the pedagogical and theatrical sense.
Twin Bill Theater returns this month with the Asian premiere of Mark St. Germain’s “Dancing Lessons,” a two-hander between a man with Asperger’s syndrome and an injured Broadway dancer who becomes his instructor.
