How does one even begin to take stock of unprecedented loss—much less learn how, or what, exactly to feel? It’s...
Miguel Antonio “Guelan” Luarca is the epitome of the multitasking theater artist.
Finally, “Mabining Mandirigma” sounds like an actual musical. Which is to say the current staging—the Tanghalang Pilipino warhorse’s fourth run...
Twenty-five productions, including 15 musicals, seven reruns and seven brand-new Filipino pieces, have already been announced for 2019.
We’re not here to deal with what Lin-Manuel Miranda calls “crazy hypotheticals.” For instance, from the grapevine: The stage adaptation...
Something wicked this way comes—again. Only eight weeks ago, Manila was shook by the sudden cancellation of the Rose Theatre...
It’s never really clear what’s going on in the minds of the three well-off teenage New Yorkers at the heart of Kenneth Lonergan’s “This Is Our Youth.” They kiss and curse and flirt, fire insults, plot schemes, smoke pot. Yet it’s hard to shrug off the feeling that what we’re seeing is only the tip of the proverbial iceberg; in this delirious adolescent fever dream, who exactly are these people?
Towards the climax of Act II of “Disney’s Tarzan,” the short-lived Broadway musical running until Saturday at the Meralco Theater as Viva Atlantis Theatricals’ second offering of the year, its titular ape-man, torn between remaining with his adoptive gorilla family and following his newfound human friends back to England, frustratingly exclaims, “I’m so confused!”
At the CCP Little Theater last July 5, musical theater actor Audie Gemora candidly recalled to a sold-out house his five-second audition for “Miss Saigon,” back when the musical’s creative team had just discovered the goldmine of homegrown Filipino talent.
Not the man himself, of course, who turns 90 in March and whose theater pieces have long endured a reputation for being technically difficult. The critic Richard Corliss said it best in Time magazine: “His melodies [are] meant to challenge the ear, not soothe it,” and “his lyrics are often so complex, they have to be heard twice.”
