The most remarkable thing about Repertory Philippines’ “The Quest for the Adarna” is Luna Griño-Inocian’s condensation of the labyrinthine “Ibong...
Twenty-five productions, including 15 musicals, seven reruns and seven brand-new Filipino pieces, have already been announced for 2019.
A mark of an excellent piece of theater is its capability to sell you its seemingly unreasonable running time. 9 Works Theatrical’s “Eto Na! Musikal nAPO!” is one such piece.
If the Aliw Awards were still interested in upping its credibility —or if it wants to show that it does pay attention at all—then the race for the Best Female Concert Performer trophy should be over by now. The winner is Bituin Escalante, whose voice basically nuked the CCP Little Theater to the ground during her solo concert, “Everything in Bituin,” last Oct. 9.
They were on a roll. Then they vanished. Now they’re back.
This year’s University of Santo Tomas (UST) National Writers’ Workshop, organized by the UST Center for Creative Writing and Literary Studies (CCWLS), had 15 fellows, the most number of participants since its revival seven years ago. We had a screenwriter (Nigel Santos); two playwrights (Gil Nambatac and Manuel Tinio); four essayists (Kristine Estioko, Ria Valdez, Bayani Gabriel and Riddick Recoter); four fictionists (Yan Baltazar, Pat Onte, Keanu Reyes and Karl “Kid” Orit); and four poets (Edmark Tan, Hans Malgapu, Soc delos Reyes and this writer).
How director Bobby Garcia ends his staging of Tony Kushner’s “Angels in America: Millennium Approaches” is the very definition of big dick energy
Dulaang UP’s latest offering, “Ang Huling Lagda ni Apolinario Mabini,” is a one-act reimagining of the titular national hero’s final days in exile in Guam and his conditional return to Manila, with book and lyrics by Floy Quintos and original music by Krina Cayabyab.
“Stageshow” by Mario O’Hara is first and foremost a Broadway show for the Filipino. Yet, during its initial run last month, it had the misfortune of competing with “The Phantom of the Opera,” which played to packed houses night after night right above it.
One of the ensemble members, then a newbie to professional theater, was Miguel Faustmann.
