By Nestor U. Torre
The ongoing furor over Nora Aunor’s noninclusion in the new list of National Artists calls to mind a similar experience we had many years ago, when theater pioneer Wilfredo ‘‘Freddie’’ Ma. Guerrero was similarly passed up for the signal honor.
By Rito P. Asilo
We get a kick out of hearing the success stories of homegrown Filipino talents getting cast in substantial roles in theater or film productions abroad. But, what many of them don’t have is Lily Chu’s consistency and knack for reinvention: In the three years since she decided to move to Prague with her Czech husband, she has already appeared in 10 substantial plays (“Hamlet,” “Marat/Sade,” “Macbeth”) and musicals (“Rent,” “Chess”)—and counting!
By Nice Rodriguez
As soon as the theater door opens (on Sunday night) and the audience is ushered in for “Rak of Aegis”—and I see the stage—I am transported to a familiar eskinita by the estero, the one where I walk my dog daily.
By Rito P. Asilo
It was instructive to see how the predominantly British audience reacted to playwright Moira Buffini’s “Handbagged” (which we saw last summer), not only because of how skillfully director Indhu Rubasingham examined the relationship of Queen Elizabeth II and former UK Prime Minister Margaret Thatcher, but also because the imaginative play featured younger and older versions of the handbag-carrying characters interacting with one another on the intimate 690-seater Vaudeville Theatre stage in London.
By Allan Policarpio
The critically acclaimed percussion-dance act “Stomp” kicked off a very limited (six days) Manila run at the Cultural Center of the Philippines Main Theater on Tuesday night, delighting a packed crowd with meticulously choreographed, seamlessly woven routines that fused an array of thumping beats and rhythms with equally robust movements.