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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.
Supertyphoon “Yolanda” showed the best and the worst of social media. In the immediate aftermath, at least, there was none of the irreverent humor that Filipinos are known for, we who make fun of anything and anyone, even and especially our own misfortune. The enormity of the tragedy was such that not even the worst kibitzers on social media had the guts to post any wisecrack.
The play’s crowning glory is its holy trinity of actors
'Marcos, Enrile, Laurel, Virata–at Rep, we all somehow managed to co-exist despite the differences'
COUNT THEM—22 productions in just the first five months of the year, from the small two-character drama (“Red”) to the all-stops-out musical extravaganza (“Ibalong,” “Katy”). Local theater is at its most prolific and exciting in years; and so, before the last days of summer ring the curtain down on the old season to usher in the new by June—and with memory the only antidote to the ephemeral nature of theater—we thought we’d look back and salute the performances that lit up the stage and occasioned cheers in the previous months.
Repertory Philippines’ second production for its 50th anniversary is John Pielmeier’s “Agnes of God,” a play it had first staged in 1983 with Pinky Amador as Agnes, and Rep cofounders Zeneida “Bibot” Amador as the mother superior and Baby Barredo as the psychiatrist.
And they do seem to be enjoying themselves on stage in this pleasant, witty–if not exactly rip-roaring–production
“How’s the house outside? Are we very full? Marami nang tao?” It’s noon on a Thursday and actress Pinky Amador is getting ready for a different kind of show. Her students, the Theater Arts majors at Meridian International College, have spent the past week working on “MINT Knows Monique Wilson,” a lecture session featuring the theater actress. Monique was scheduled to arrive any minute.
It is not easy being an Asian-American actor in the United States. It is an uphill struggle. Successes are few and far between (think “M. Butterfly” or “The Romance of Magno Rubio”). Many are called (hundreds and hundreds audition) but few are chosen.
When “Katy” opened on Jan. 27 at the Cultural Center of the Philippines, not only was it the first local production to raise its curtain this year, it was also a harbinger of sorts.
