At 65, I’m susceptible to nostalgia. It comes anytime in my workaday world, like when riding the MRT-LRT trains from my Pasig home to various offices to claim my contributor’s checks.
The raves are still pouring in, even as Repertory Philippines’ “August: Osage County” is on its last weekend. The lion’s share of the praise goes to Baby Barredo, the company’s cofounder, artistic director and now the play’s main performer after an absence of more than a decade. Barredo remains at the top of her game at 72—an age she is not ashamed to admit.
Two moments are etched forever in the mind of indie film star Angeli Bayani, who is riding the twin waves of success brought about by the international acclaim surrounding her two films: Anthony Chen’s “Ilo Ilo” and Lav Diaz’s “Norte: Hangganan ng Kasaysayan.”
There is a story I told earlier about the late Rolando Tinio. In the late ’60s or early ’70s, he gave a talk in an exclusive girls’ college on the power of the vernacular. For us who are old enough to remember, this era was the period of Filipinization, activism and renewed nationalism.
Two student theater groups of Ateneo de Manila University announce their season lineups for schoolyear 2012-2013.
Last month, I dreamed of Rolando Tinio. It would have been likely if the dream content were tenor Dodo Crisol, the guy who gave me the complete Neruda collection and
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