Friday, February 06, 2009

Clint Ramos is TDF/Irene Sharaff Young Master Awardee

Filipino artists working in American theater are on a roll, it seems. So soon after Randy Gener's triumph as the newest recipient of the George Jean Nathan award for drama criticism, scenic and costume designer (and UP-Diliman graduate) Clint Ramos has been chosen as one of four awardees of the Theatre Development Fund's 2009 Irene Sharaff Awards, which aim to “pay tribute to the art of costume design and honor legendary designer Irene Sharaff.” The full announcement here, a shorter version below (Thanks for the alert, Alvin!):

Long, Crowley, Ramos and Parsons Are Sharaff Award Recipients
By Adam Hetrick
04 Feb 2009

Tony Award-winning designers William Ivey Long and Bob Crowley are among the honorees of the Theatre Development Fund's 2009 Irene Sharaff Awards, which will be presented March 27 in Manhattan.

Founded in 1993, the awards pay tribute to the art of costume design and honor legendary designer Irene Sharaff, who designed numerous Broadway productions, including the original stagings of Lady in the Dark, West Side Story, The King and I, Juno, Sweet Charity, Funny Girl, Candide and Jerome Robbins' Broadway.

Long, the five-time Tony Award-winning costume designer of Grey Gardens, Nine, Crazy for You, The Producers and Hairspray, will receive the TDF/Irene Sharaff Lifetime Achievement Award for theatrical costume design.

Scenic and costume designer Bob Crowley, who also claims five Tony Awards for his work on Mary Poppins, The Coast of Utopia, The History Boys, Aida and Carousel, will be presented with the Robert L. B. Tobin Award for Lifetime Achievement in theatrical design.

Also honored will be scenic and costume designer Clint Ramos (The Good Negro, Women Beware Women, Boy's Life, Donnie Darko), who will receive the TDF/Irene Sharaff Young Master Award; and costume shop operator Sally Ann Parsons, who has overseen costume construction for Cats, The Phantom of the Opera, The Lion King, Sunset Boulevard, Starlight Express, Thoroughly Modern Millie and Wicked, will be presented with the TDF/Irene Sharaff Artisan Award.

The March 27 awards ceremony held at the Hudson Theatre will also offer a special tribute to the award's namesake, late costume designer Irene Sharaff.

The advisory committee responsible for selecting the annual honorees comprises Gregg Barnes, Suzy Benzinger, Dean Brown, Linda Fisher, Lana Fritz, Rodney Gordon, Desmond Heeley, Allen Lee Hughes, Holly Hynes, Carolyn Kostopoulous, Kitty Leech, Anna Louizos, Mimi Maxmen, David Murin, Sally Ann Parsons, Robert Perdziola, Carrie Robbins, Tony Walton, Patrick Wiley and David Zinn. The chairman is Gregory A. Poplyk.

For more information, visit

Disclosure: I was once critical of Mr. Ramos' work--specifically, his set for the Tanghalang Pilipino production of the Cayabyab-Lumbera musical Noli Mi Tangere in November 2005 (here). No matter. His blazing career, of which the Sharaff accolade is but the latest affirmation (he was also nominated for a 2008 Drama Desk Award for Outstanding Set Design of a Play, for St. John Hankin's The Return of the Prodigal at the Mint Theater), deserves the loudest cheers. Bravo, Mr. Ramos!


beektur said...

what a big man to acknowledge admiration for his success while reminding your readers of how you reacted once to his work. (chos, ikaw pa rin ang pinuri). is there a picture of this monstrosity? seems like he was just ahead of the used-to-provincial thingy design. then again, it was after, an opera, where everything is lavish. even rizal's writing lends itself to melo-opera. sort of my first reaction to julie taymor's staging of the magic flute. extravagant, yet. unncessary maybe. but isn't that the very essence of opera? :)

patrick said...

i luurve irene sharaff's profile photo here. a real classic beauty. ^_^

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palma tayona said...

nice to have seen you again last night gibbs. amazingly too, you look way lot younger when i used to see you at a different bookstore way back in 1997. cheers!

gibbs cadiz said...

BEEKTUR, my beef with it was more logistical than aesthetic. in fact, i loved its visual impact. however, it was scaled badly--cramping the stage and the actors and even posing a risk to their movements. thinking back now, though, i should have been as harsh on the director, who should have foreseen the problem during the rehearsals. :)

PATRICK, isn't she a beauty? :)

thank you for that note, YFFAR. :)

DANIEL! glad to have seen ya, too! thanks for the kind words--at sa l'oreal. hahaha! :)

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