In the end, “Misery” isn’t total misery. It’s just weird. Apart from the fact that it’s a completely unnecessary adaptation, you oddly start to root for the monster, not the bona fide action hero.
SEATTLE — Despite the murder case hanging over her head, Amanda Knox has tried to lead a normal life in the U.S. in the more than three years since she
After their amazing performance of “Ang Nawalang Kapatid” earlier this year, Dulaang UP apparently went straight to the top when looking for a new play to mount: Shakespeare.
There is much to praise in Red Turnip Theater’s “Rabbit Hole”—one of the trifecta of “beautifully depressing,” emotionally searing shows playing in Manila this month, the other two being the exquisitely mounted productions of Han Ong’s “Middle Finger” (by Tanghalang Ateneo) and Jason Robert Brown’s “The Last Five Years” (by 9 Works Theatrical).
It is a sad but accepted reality for teachers and theater reviewers that they must spend their lives pointing out the flaws in the works of others. It is a rare indulgence for a reviewer to gush about a beloved work without reservation.
Upon entering the theater, one notices an annoying crack of light that seeps through one side of a door, glaring at the audience, on the set of Repertory Philippines’ staging of “Wait Until Dark.”
When the curtain opened in the first act of “San Andres B.,” one saw a highly cohesive and compact production design by Eric Cruz, with the orchestral ensemble not in the pit but in one visible part of the stage, becoming almost part of the action.
“Rodgers and Hammerstein’s Cinderella, 2” which opened Oct. 10 for a three-month run at the cavernous Newport Performing Arts Theater in Resorts World Manila is not exactly how people would picture a musical based on a children’s fairy tale.
In the original Greek classic “Oresteia,” written by Aeschylus, the madness in the House of Atreus ends on a happy note. But in Tanghalang Ateneo’s version, “Ang Oresteyas,” the conclusion is more ambiguous; the play places the protagonist’s fate in the hands of the live theater audience, and ends with a question mark.
Jealous sniping has always been in fashion, whatever the century. The backstage passions and vanities of a quartet of popular opera singers, plus a revered diva and a couple of renowned composers illuminate the New York City premiere of “Golden Age,” Terrence McNally’s play about an important evening in the life of 19th-century Italian opera composer Vincenzo Bellini.
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