SEATTLE â Despite the murder case hanging over her head, Amanda Knox has tried to lead a normal life in...
In the opening moments of "Hold These Truths," Jeanne Sakata's eloquent one-man drama about civil rights giant Gordon Hirabayashi, the reflective protagonist recites a Japanese proverb he learned from his father while growing up on a farm in Washington state during the Great Depression: "Deru kugi wa utareru," or, "The nail that sticks up gets hammered down."
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.
While Matthew Broderick clearly can take a joke, it might be best if he skips the latest edition of the theater spoof "Forbidden Broadway."
In the original Greek classic âOresteia,â written by Aeschylus, the madness in the House of Atreus ends on a happy note. But in Tanghalang Ateneoâs version, âAng Oresteyas,â the conclusion is more ambiguous; the play places the protagonistâs fate in the hands of the live theater audience, and ends with a question mark.
There is much to praise in Red Turnip Theaterâs âRabbit Holeââone of the trifecta of âbeautifully depressing,â emotionally searing shows playing in Manila this month, the other two being the exquisitely mounted productions of Han Ongâs âMiddle Fingerâ (by Tanghalang Ateneo) and Jason Robert Brownâs âThe Last Five Yearsâ (by 9 Works Theatrical).
After their amazing performance of âAng Nawalang Kapatidâ earlier this year, Dulaang UP apparently went straight to the top when looking for a new play to mount: Shakespeare.
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 Philippinesâ staging of âWait Until Dark.â
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.
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.
