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The works of Lex Marcos, Raven Ong, Rollie de Leon, Mark Higgins and Mio Infante testify to the depth, diversity and sophistication of Philippine theater design
For theater director Amiel Leonardia, it must have been an interesting sort of homecoming—the kind that speaks of the beautiful symmetry of coming full circle—as he finds himself assembling on the Claire Isabel McGill Luce Auditorium stage at Silliman University the elements that would recreate a story of war-torn Dumaguete.
Actors are usually called a “triple threat” when they do three things: act, sing and dance. Lex Marcos is an actor who betters that description: He also does set and lighting design. Actually, he also sings and dances. And he paints, too. Six disciplines, so, technically, he’s a “sextuple threat,” but who’s counting?
In 2007, some upper-class Certificate in Theater Arts students of the University of the Philippines (UP) were talking about this incoming freshman—a good-looking boy from Pampanga who had acted for Sir Tony Mabesa’s plays at Angeles University.
