Bobby Garcia has quietly amassed a whole range of successes in fields that extend from television to film, live concerts,...
It’s amazing how Atlantis Productions can mount one contemporary musical after the other, some of them demanding, like the recent...
To a growing number of Metro Manilans, weekends are getting to be an Atlantis weekend. They spend Saturday nights or Sunday afternoons watching an Atlantis Productions play or musical at Carlos P. Romulo Theater, RCBC Plaza, Makati.
In a year that was largely more of the same—that is, like last year, ruled by musicals, the plays barely making comparable buzz—the biggest and most significant developments in local theater happened mostly offstage.
When Disney’s “Aladdin” first opened in Philippine cinemas in the summer of 1993, I dragged my brother to watch—but not before slipping my big Aladdin pin, a treasured pasalubong from an aunt who had gone to Disneyland, inside the right pocket of my jeans.
National Artist for Literature F. Sionil José, in a recent column, called it “the ancient problems of our theater”—the lack of resources, say, and more gravely, the continuing lack of audiences, which was the prevalent lament during the sparsely populated National Theater Festival held in November this year at the Cultural Center of the Philippines.
REPERTORY Philippines’ “No Way To Treat A Lady,” a musical comedy thriller with book, music and lyrics by author/composer Douglas J. Cohen, opens March 1 and runs until March 24, at Onstage Greenbelt 1. Audie Gemora directs.
REPERTORY Philippines’ “No Way to Treat a Lady,” a musical comedy thriller with book, music and lyrics by author/composer Douglas J. Cohen, runs until March 24 at Onstage Greenbelt 1. Audie Gemora directs.
It is late afternoon in a dance studio in Makati, where the cast of Atlantis Productions’ “Piaf” is winding up rehearsals for the day. The play, which premiered Friday night at the Carlos P. Romulo Auditorium of RCBC Plaza, has occupied the mind of its lead star, Pinky Amador, for a good number of years.
In Atlantis Productions’ “Piaf,” audiences are greeted by a room made of wide, drab, wooden panels and crumbling shutters that reach the rafters, a visual metaphor for the vast, high-reaching yet damaged life of the play’s titular French chanteuse.