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‘Waiting for Godot’ five ways (maybe six)–only one succeeds, but how
Only in the least adventurous of Tanghalang Ateneo’s five interpretations does the absurdist classic make perfect sense
Only in the least adventurous of Tanghalang Ateneo’s five interpretations does the absurdist classic make perfect sense
If you want an evening of genuine surprise at the theater, the kind that makes you go, “I never thought they had it in them,” then the Ateneo is the place to be these days, where Blue Repertory’s “In the Heights” and Tanghalang Ateneo’s adaptation of “Waiting for Godot” prove nightly that youth and inexperience are never hindrances to putting up a show whose quality matches its ambition.
Tanghalang Ateneo, the longest-running theater company of the Loyola Schools of the Ateneo de Manila University, will end its 36th Season: Navigating Identities this February with “Godot5: Five Ruminations on Samuel Beckett’s ‘En Attendant Godot'”.
“Rite of Passage,” written by Glenn Sevilla Mas, is more than just a typical teenager’s coming-of-age story. It is a quest for survival and sanity when no help is within sight. It is an agonizing education into life’s harsh realities, and a deliberation on whether or not a next step is even possible.
Tanghalang Ateneo, the longest-running theater company of the Loyola Schools of the Ateneo de Manila University, presents Glenn Sevilla Mas’ “Rite of Passage: Sa Pagtubu kang Tahud (An adaptation of a Kinaray-a short story by Maria Milagros Geremia Lachica),” beginning Nov. 27 under Ron Capinding’s direction.
Tanghalang Ateneo, the longest-running theater company of the Loyola Schools of the Ateneo de Manila University, celebrates its 36th season with the theme “Navigating Identities”. To articulate this, the company will stage plays that explore man’s need to find himself and his place in the world.
On October 1, the School of Humanities of Ateneo de Manila University, Ateneo Fine Arts, Lyric, and Tanghalang Ateneo are mounting “Contra Mundum: A Devised Reading of ‘A Portrait of the Artist as Filipino.’”
Tanghalang Ateneo first staged Han Ong’s “Middle Finger” in 2006. This year’s version feels like a reboot that’s superior to the original.
“Middle Finger.” We’re not sure about the imagery and related context that Filipino-American playwright Han Ong had in mind when he made it the title of his stunning, disturbing work, but after viewing Tanghalang Ateneo’s (TA) interpretation of the play last weekend, we get the drift.
MIDDLE Finger,” Han Ong’s acclaimed adaptation of Frank Wedekind’s controversial coming-of-age classic drama “Spring Awakening,” is translated into Filipino by Ronan B. Capinding and presented by Tanghalang Ateneo under Ed Lacson Jr.’s direction. Venue is Ateneo's Fine Arts Black Box Theater
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