On top of the world

Well, not quite. But you do get the feeling when you´re on the rooftop of the 11th-century Cathedral of Santiago de Compostela in Galicia, Spain. Our tour lasted about an hour (courtesy of the Spain Tourist Board--muchas gracias!) and reduced our knees (mine, at least) to quivering jelly from all that climbing. But the view is... well, let´s just put it this way: I blurted out putaaaangina! when I stepped out on the roof and first saw the sight around me, completely forgetting I was on top of a church.

And not just any church, but the third most important site in Catholicism after Jerusalem and Rome. It´s essentially the same vista, we were told, that millions of pilgrims down the centuries also saw when they walked for weeks from all parts of Europe to converge on this ancient city to pay homage to the apostle St. James the Greater, whose relics, tradition says, are buried under the church altar. A side trip to the rooftop of the cathedral, then as now, is a jaw-dropping highlight of the pilgrimage.

My own pics and video will have to wait until after I´m back in Manila. These three for now were taken by Marbee Go, editor of the Travel section of Manila Bulletin and an invaluable colleague on this trip (not least for quickly uploading these shots on her Facebook). See my grin? I look all giddy, don´t I?

11 reminders, 1 promise--and bye for now

By late afternoon today I'm off on my disappearing act again, and won't be back until March 1. My apologies to the people behind some shows I've earlier committed to watch, but now can't because of this new trip. While I'm away and this blog is idle (as usual, I'm not sure at this point if I can go online), please find time to watch the shows below and let me know how they are. Leave your comment/capsule review here, and the best one (maybe more) will get a present from me once I'm back. Game?

1. FEU Art Theater Clinique's Sa Bunganga ng Pating, libretto by Juan Cruz Balmaceda, music by Leon Ignacio. Directed by Joey Ting, with overall musical direction and orchestration by Chino Toledo. Stars singer-actress Joy Viado and ATC resident student-artists. It has one more show left, today, 6 p.m. at the UP Theater, as part of the UP Sarsuwela Festival 2009. Tickets (P75 each) are available at the Sarsuwela Office, UP-CAL Dean's Office (9287508)

2. Tanghalang Ateneo's Lysistrata, by Aristophanes, adapted into Filipino by Jose F. Lacaba, under Ricky Abad's direction. February 19-21, 24-28, March 3-7, 7 p.m.; February 21, 28 and March 7, 2 p.m., at the Rizal Mini-Theater, Ateneo de Manila University. For tickets, call Bea Gulinao 0917-8269686 or Bettina Santos 0906-2141409.

3. George de Jesus III's Kung Paano Maghiwalay, produced by Stage Right Theater Productions, Inc. and starring Madeleine Nicolas, Bituin Escalante, Aiza Marquez, Gilleth Sandico, Gem Padilla, Juliene Mendoza, Eric dela Cruz, GA Fallarme, John Lozano, Erwin Flores, Kristine Balmes, Lorna Lopez and Bembol Roco. Remaining playdates are February 21, 23 and 24, 10:30 a.m., 1:30 and 4:30 p.m. at the Bulwagang Balagtas, PUP Library. For tickets, call 0915-7859325, 0922-8559139 or 0928-9077777.

4. Ateneo Blue Repertory's Bare, a musical written by Jon Hartmere Jr. and Damon Intrabartolo, with Ana Abad-Santos directing. Features Amos Francia, Bibo Reyes, Delphine Buencamino, Rem Zamora and Jenny Jamora, among others. Ongoing until March 7 at the Fine Arts Exhibit Hall, 3/F Gonzaga Hall, at the Ateneo De Manila University. Show dates: February 17-21, February 24-28 and March 3-7, all at 7:30 p.m. For tickets, Call Alexa Yupangco 0917-7220805.

5. Tag-Ani Performing Arts Society's revival of the landmark play Pagsambang Bayan, written by Bonifacio P. Ilagan, direction by Behn Cervantes. The national tour kicks off with two performances on February 25-26 February 2009, 7 p.m., at the Bahay ng Alumni, University of the Philippines in Diliman, Quezon City, in partnership with the UP Repertory Company. First provincial outing on February 28, 4 p.m. and 7 p.m., at the Emilio Aguinaldo College Auditorium in Dasmarinas, Cavite. For bookings, 0920-9461975/0922-8010792, fax 9305236 or e-mail tag_ani@yahoo.com.

6. Dulaang UP's Ang Kiri, also as part of the UP Sarsuwela Festival 2009. Libretto by Servando de los Angeles and music by Leon Ignacio. Featuring Tassy Garrucha, Joaqs Valdez, Red Concepcion, Mitoy Sta. Ana, Ricky Ibe, Edna Mae Landicho, Jacinta Remulla, Jules de la Paz, William Manzano and the Dulaang UP Ensemble, under Dexter Santos' direction. Feb 25, 26, 27, 6 p.m., UP Theater. Tickets (P75 each) are available at the Sarsuwela Office, UP-CAL Dean's Office (9287508)

7. UA&P Kultura Desk's You're A Good Man, Charlie Brown, The Broadway Musical, based on the comic strip Peanuts by Charles M. Schulz. Book, music and lyrics by Clark Gesner, additional dialogue by Michael Mayer, additional music and lyrics by Andrew Lippa. Directed by Sweet Plantado-Tiongson, choreography by Red Concepcion and starring a cast of UA&P student and alumni actors. Runs February 27-March 8, 2009, at the Dizon Auditorium, G/F, Development Communications Bldg., University of Asia and the Pacific, Ortigas Center. For ticket and seat reservations, call Marion 0915-5353413 or Marie 0917-8334564. Visit http://uapcharliebrown.multiply.com and http://kulturablog.com

8. Repertory Philippines' I Love You Because, an Off-Broadway musical retelling of Jane Austen’s Pride and Prejudice, with lyrics by Ryan Cunningham and music by Joshua Salzman. Stars Harold Cruz, Caisa Borromeo, Kyla Rivera, Gabs Santos, Anna Santamaria and Onyl Torres, with Robbie Guevara directing. Showing on all weekends from February 13 to March 8, with Friday and Saturday shows at 8 p.m., and Saturday and Sunday matinees at 3:30 p.m. For ticket inquiries, call Ticketworld 8919999 or the REP office 8870710. Visit www.repertory.ph or www.ticketworld.com.ph

9. PETA's Saan Ba Tayo Ihahatid ng Disyembre?, written by Tony Perez and directed by Nonon Padilla Jr. Stars Angeli Bayani, Eric dela Cruz, Lex Marcos, Juliene Mendoza, Jack Yabut and Alison Segarra. Ongoing until March 15, Fridays 2:30 and 7:30 p.m., Saturdays and Sundays 10 a.m. and 3 p.m., at the PETA Theater Center, QC.

10. Ballet Philippines' Neo-Filipino, featuring the revival of BP founding artistic director Alice Reyes' classic dance piece Amada, as well as two world premieres of new dances. Performances on March 12,(8 p.m.), March 13 (3 p.m./8 p.m.), March 14 (3 p.m./8 p.m.), and March 15 (10 a.m./3 p.m.) at the Tanghalang Nicanor Abelardo (Main Theater) of the CCP. For tickets, call Ticketworld 8919999, CCP Box Office 8323704l or BP 5510221/5511003/8326011. Visit www.balletphilippines.org

11. Tanghalang Pilipino's ZsaZsa Zaturnnah, Ze Muzikal, based on the comic book by Carlo Vergara, adapted for the stage by Chris Martinez, directed by Chris Millado. Music and lyrics by Vince De Jesus. Stars Eula Valdes, Tuxqs Rutaquio, Vince De Jesus, Joey Paras, Nar Cabico, Arnold Reyes, Lauren Novero, Red Anderson and the Tanghalang Pilipino Actors' Company. Extended until March 8, Sunday, at the CCP Tanghalang Aurelio Tolentino (Little Theater). For ticket reservations, call 8323661 or 8919999.

There. I'll worry about this blog while shivering in wintry Madrid and Santiago de Compostela in Spain--from where the pasalubong for the best commenter will come. Hasta la vista!

First among equals

[UPDATE: Complete list of winners here.]

Some of the winners--or their representatives--in the first Gawad Buhay! Philstage Awards for the Performing Arts (from left, standing): Liesl Batucan, Susan Macuja, Dennis Marasigan, Jethro Joaquin, Bong Cabrera, Melvin Lee, Jose Mari Avellana, CB Garrucho, Max Luna III, Camille Ordinario Joson, Alan Hineline. (From left, seated) Floy Quintos, Vince De Jesus, Robert Sena, Shamaine Centenera Buencamino, Biag Gaongen. Congratulations! [Click on photo to enlarge.]

Complete list of winners to follow. Roster of nominees here.

UPDATE: Acceptance speeches of winners in the acting categories.

1. Bong Cabrera--Outstanding Male Featured Performance in a Play (for Tanghalang Pilipino's Kudeta), the night's very first awardee. He set an example by keeping his speech short and buoyant, heartfelt without the goo.



Cris Villonco won Outstanding Female Featured Performance in a Play (for Repertory Philippines' Hamlet where she played Ophelia). She wasn't around to get her trophy, so Rep's Jejie Esguerra accepted it on her behalf.

2. Shamaine Centenera-Buencamino--Outstanding Female Lead Performance in a Play (for Tanghalang Pilipino/Virgin Labfest 4's Ang Kalungkutan ng Mga Reyna): Acting royalty--poised and radiant as always, and fulsome in her praise for husband Nonie's unstinting support.



3. Jose Mari Avellana--Outstanding Male Lead Performance in a Play (for Repertory Philippines' Tuesdays With Morrie). The high point of the evening. Already a legend in Philippine theater, the rather frail but clearly elated Mr. Avellana took time to show up with a warm, classy speech in return for his much-deserved trophy. Bravo!



[UPDATE: Complete list of winners here.]

You're all invited

The Philippine Legitimate Stage Artists Group Inc. (Philstage), in cooperation with the Cultural Center of the Philippines, invites everyone to the presentation of the 2008 Gawad Buhay! The Philstage Awards for the Performing Arts tonight, 7:30 p.m., at the CCP Tanghalang Aurelio Tolentino.

Gawad Buhay! is the first ever industry awards conferred upon outstanding achievements in the performing arts by Philstage member-companies. Outstanding individual and group achievements in various artistic and technical aspects of play, musical and dance productions and performances will be honored based on quarterly citations deliberated by an independent jury panel composed of critics, performing artists, cultural researchers and scholars, and theater enthusiasts.

Fernando Josef, president of Philstage and artistic director of Tanghalang Pilipino, said the awards program is part of Philstage’s efforts to enhance awareness and appreciation of the performing arts. “It seeks to further professionalize the performing-arts industry in the Philippines by engaging our audiences—critics, artists and the viewing public—in a creative dialogue.”

The other members of the Philstage board of directors are Peta’s Melvin Lee, vice president; Ballet Philippines’ Sandy Hontiveros, secretary; Repertory Philippines Gidget Tolentino, treasurer; Actors Actors’ Leonardo Lim, Ballet Manila’s Susan Macuja, Gantimpala Theater Foundation’s Tony Espejo, Organisasyon ng Pilipinong Mang-aawit’s Mitch Valdes, Trumpet’s Joel Reyes, and Philstage executive director Elmar Beltran Ingles as board members.

Directed by Dennis Marasigan, the awards ceremonies will have the country’s foremost theater personalities as awards presenters. The cast of Peta’s “Batang Rizal” and Ballet Philippines’ Biag Gaongen will render special production numbers from their nominated performances.

Complimentary tickets may be claimed from the reception desk starting 6:45 p.m.

Full list of nominees here.

How could I have missed this for work?

Gerry Plaza's verdict on Joanna Ampil's Valentine concert at the Music Museum:

“She combined powerful vocals, a projection honed in professional theater, flawless diction and raw emotion to give listeners infallible proof that Filipino artists truly have what it takes.

“[Joanna] Ampil enthralled a sparse yet attentive crowd with Broadway music sans expensive costumes and sets. 'I have no character to hide in [tonight],' she said. 'I’m naked in front of you.'

“Highlight of the evening was Ampil’s medley of hits from 'Sunset Blvd,' 'Wicked' and 'Dreamgirls.' [video below, courtesy of Girlie Rodis.] Some spectators were convinced they were hearing versions better than the originals... Should this world-class Pinay talent decide to stay (she’s now based in London), we’ll all be the better for it.”



That Listen is amazing--as is the ease with which she shifts from sumptuous Broadway sound to soul-tinged pop and back. If only the band had sounded better. More: Rainbow Connection here, There's a Fine, Fine Line here.

Landmark play Pagsambang Bayan to be restaged

In August 1977, a play that said everything against martial law was performed in UP Diliman. Being already on its fifth year, the dictator Marcos had become cocksure that his military regime would last forever. Now here was this unlikely play, defying its might.

“Even before opening night,” wrote Dr. Doreen Fernandez in “Palabas: Essays on Philippine Theater History” (Ateneo de Manila University Press, 1996), “people whispered that the play was ‘matapang,’ and should be seen immediately, because it might be closed down by the military. The first night was palpable with thrill--the thrill of danger, but even more, the thrill of saying almost outright that which had not been said directly for five years.”

Wilfrido Ma. Guerrero Theater was jampacked, the air electric. Halfway through the performance, applause thundered, and cries of “Truth!,”“Justice!” and “Freedom!” resounded among a suddenly emboldened audience.

“Pagsambang Bayan” is acclaimed as the first play during martial law that challenged the military regime in a way that no theater piece had dared to do. Against all odds, it tackled issues that were forbidden to be talked about, such as the killing of freedom and democracy, wanton violations of human rights and loss of human dignity, government corruption and the insatiable greed of those who are in power.

Today, 32 years after “Pagsambang Bayan” was first produced by the UP Repertory Company--it was remounted in 1981 and 1984 also by UP Rep--it is again being restaged by the Tag-ani Performing Arts Society.

More than a mere reshowing of an old play, the restaging of “Pagsambang Bayan” aims to dramatize to the present generation how Philippine theater measured up to its social function during one of the darkest periods of our history. Its purpose is to reaffirm Philippine theater’s obligation not only to comment on the human condition but to realize the full human potential of our people.

Written by Bonifacio P. Ilagan right after his detention, “Pagsambang Bayan” won in the 1976 Palihang Aurelio V. Tolentino. It was first directed by Leo Rimando and performed in Hongkong in English. The original Philippine performances were directed by Behn Cervantes for the UP Repertory Company. Other productions were done outside Metro Manila. Until 1984, it had chalked up more than 100 performances by various theater groups.

Ilagan and Cervantes again team up to lend a classic play a new treatment in the 2009 production by the Tag-ani Performing Arts Society, in cooperation with the National Commission for Culture and the Arts; and with the UP Repertory Company in the UP Diliman version, in conjunction with February Arts Month.

The play has been anthologized in various books here and abroad. It is featured in the CCP Encyclopedia of Philippine Art as a major work in Philippine theater and as an example of an art form made relevant by the crisis of society.

The national tour kicks off with two performances on February 25-26 February 2009, 7 p.m., at the Bahay ng Alumni, University of the Philippines in Diliman, Quezon City, in partnership with the UP Repertory Company. Its first provincial outing is hosted by the Workers’ Assistance Center, with performances on February 28, 4 p.m. and 7 p.m., at the Emilio Aguinaldo College Auditorium in Dasmarinas, Cavite. Behn Cervantes directs.

For bookings, please call Tag-ani Performing Arts Society 0920-9461975/0922-8010792, fax 9305236 or e-mail tag_ani@yahoo.com.

Not another giddy entry on bargain books

For years now, a chief lament I've had with local bookstores is the dearth of theater-related books on their shelves. Aside from Shakespeare and the occasional Beckett, Eliot, Miller or Tennessee Williams, plays in book form--especially new dramas--are hard to come by. Harder still are anthologies of criticism or commentary, though biographies of stage greats (Olivier, for starters, which has a number of volumes available) are quite visible.

Buying from pricey foreign stores--Kinokukiya in Singapore, say, where I bought two books on performance studies--is a coronary-inducing experience. You know you can't find the titles anywhere else, so you buy them now, through gritted teeth, labored breathing and that sudden pain at the back of your neck.

Not surprisingly, local bargain bookstores with their promiscuous, non-discriminating displays of anything printed (sensing a market, Book Sale even carries Korean titles now) are the best places to look for such books. You never do know what you're going to find once you start plowing through the bins. There's the thrill, and also the danger: Once I get near a bargain bookstore I'm a goner. It never fails.

Last Saturday, at Robinsons Place Manila, on my way to find the Baguio merchants selling scarves, gloves and bonnets (for a forthcoming trip--the outlet was gone, dang) I detoured to a Book Sale outlet on the ground floor. I left with a busted budget and 15 books in the bag. The surprise--most of them were theater-related, the first time I had a haul like it. By some inspired randomness, it was as if all these books were gathered together to be dumped in one outlet, to await breathless hoarding by a lucky theater junkie. That would be me. Take a look:


PLAYS
Two Plays by Edward Albee (The American Dream/The Zoo Story), P40
The Visit, Friedrich Durrenmatt, P45
Old Times, Harold Pinter, P45
Six Characters in Search of an Author, Luigi Pirandello, P45
Broadway Bound, Neil Simon, P45
The Playboy of the Western World and other plays, J.M. Synge, P65
Thornton Wilder: Three Plays (Our Town/The Skin of Our Teeth/The Matchmaker), P65
Ma Rainey's Black Bottom, August Wilson, P75
Betrayal, Harold Pinter, P75
Love Letters, and two other plays (The Golden Age and What I Did Last Summer), A.R. Gurney, P115

SCREENPLAYS
The History Boys: The Film, Alan Bennett, P75
Taxi Driver, Paul Schrader, P75

REFERENCES
How to Audition: Advice from a Casting Director, Gordon Hunt, P45
Film Acting: The Techniques and History of Acting for the Camera, Mary Ellen O'Brien, P75
Shakespeare's A Midsummer Night's Dream, Harold Bloom, P75

Everything for about a thousand pesos. Not bad, eh? Given those prices, there was no way I could leave without the finds securely in my hands. Even Gordon Hunt's audition book, which I bought because its second half consists of extensive interviews and reminiscences on the audition process by the likes of Stephen Sondheim, Hal Prince, Neil Simon, Woody Allen. At P45! Gordon Hunt, by the way, is the father of actress Helen Hunt.

And Harold Bloom's--actually an excerpt from his tome Shakespeare: The Invention of the Human. In exchange for P75 I get lofty, nosebleed disquisitions on Puck, Bottom, Titania and Oberon. What could be more--gulp--fun?

[Photo taken with a Sony Ericsson C905]

Cinema Rehiyon: a film festival like no other

Films from the Cordilleras to the Visayan Islands to Mindanao: Be ready for a film festival like no other.

“Cinema Rehiyon: Alter Nativo (Films From The Other Philippines)” is a non-competition film festival that will highlight the works of emerging filmmakers from the various towns, cities and provinces of the Philippines. For the first time, see what kind of films are being made the various cities and hubs outside of Metro Manila.

“Cinema Rehiyon” will be held at the CCP Dream Theatre from Feb. 18-21, 2009. It will feature short and full-length films made by regional filmmakers, set in their respective locales and done in their own dialects. Most of the works to be exhibited will be shown in Metro Manila for the very first time.

Bacolod, Baguio, Cagayan de Oro, Cebu, Davao, Iloilo and Naga are among some of the cities that will be representing their regions.

“Cinema Rehiyon” is a project of the National Commission for Culture and Arts in cooperation with the Cultural Center of the Philippines and the Crossing Negros Cultural Foundation. It is an official event of the Philippine International Arts Festival.

All screenings are for free and will start at 12 noon. For more details, inquire at cinemarehiyon@yahoo.com, or visit www.cinemarehiyon.multiply.com

Fund-raising concert for tenor Nolyn Cabahug

The Philippines' "Tenor ng Bayan," Nolyn Cabahug, is currently in the hospital and is required to undergo daily dialysis. To help him and his family during this time of need, artists and friends have agreed to stage a concert for his benefit on February 28, 2009, 8 p.m., at the Carlos P. Romulo Auditorium, RCBC Plaza, Ayala Ave., Makati City

So far, artists who have agreed to donate their time and talents include: George Yang, Robert Seña, Isay Alvarez, Bimbo Cerrudo, Jennifer Uy, Sherwin Sozon, George Tagle, Lionel Guico, Karla Gutierrez, Joy Abalon, Alexis Edralin, Florence Aguilar, Juan Alberto Gaerlan, Maritoni Rufino, Elaine Lee, Jenny Aldecoa-Delorino, Lara Maigue, Fame Flores, JM Rodriguez, Bench Bautista, Joel Villaflor, Joanna Go, Rachelle Gerodias, Andrew Fernando, Clarissa Ocampo, Jude Areopagita, Harana, Renato Lucas, Rodel Colmenar and many other musicians, etc.

To raise as much as funds for Nolyn, concert tickets are priced at P5,000 (reserved seats) and P1,000 (first-come, first-served). Pledges will also be accepted at the venue. Please make checks payable to Nolyn Cabahug.

For inquiries, call Philippine Opera Company 8928786.

Ballet Philippines caps 39th season with Neo-Filipino

Ballet Philippines, the country’s premiere dance company, closes it 39th season with "Neo-Filipino," a suite of electrifying dances that pay homage to Filipino heritage and culture.

A highlight of "Neo-Filipino" is the highly- anticipated revival of BP founding artistic director Alice Reyes' "Amada," a now-classic dance piece inspired by "Tatarin" and "Summer Solstice," two stories by National Artist Nick Joaquin. "Amada" explores the mysteries of the Tatarin ritual.

Meanwhile, live music by Kalayo (formerly Pinikpikan) will serve as inspiration for the world premiere of "KatiTaog," a work by Ballet Philippines ' artistic director Max Luna III--his first work created especially for the company.

The world premiere of "Ulaging-Daog-dog Sa Sang Libong Kulog," by BP resident choreographer Alden Lugnasin, draws on a fusion of live music, ethnic instruments, movement, drama and contemporary dance to expose the plight of the indigenous Lumads of Mindanao. The music for "Ulaging" is composed by Roberto Aves with vocals by Grace Nono.

For this season–ender production, BP is pleased to once again offer discounts to students with ID (50-percent off) and seniors (20-percent off). Special discount rates are also available for school groups.

Performances of "Neo-Filipino" are slated on March 12,(8 p.m.), March 13 (3 p.m./8 p.m.), March 14 (3 p.m./8 p.m.), and March 15 (10 a.m./3 p.m.) at the Tanghalang Nicanor Abelardo (Main Theater) of the CCP.

For ticket information, call Ticketworld 8919999, CCP Box Office 8323704l or BP 5510221/5511003//8326011. Visit www.balletphilippines.org

Embracing the Louvre

If only I could. The next best thing: rack up lots and lots of pictures, and steal this one last hurried look:

The lolcat's out of the bag

“Untrainable, skittish and unpredictable beasts that they are, cats are a bust in Hollywood... But it's those skittish, unpredictable qualities that made them screwball comics for a YouTube age. The box-surfing cat, the kitty on a Roomba, the cat eating gyoza--the Internet pumps out new adorable cat videos every day, many of them comic gems that rack up millions of viewers, their sheer simplicity and nuclear cuteness enough to make serious filmmakers soil themselves with envy and futility.

“Cats' biggest online boost--the anthropomorphized lolcats that launched their own 'catois'--began on a message board for geeks and obsessives... It turns out, cats are a brilliant blank slate. 'Cats are easier to objectify--ask the ancient Egyptians!' says Jason Kottke, who runs the influential site kottke.org. Cats, therefore, 'are easier to make fun of, especially if they act in ways that run counter to cat-like tendencies, which they do in so many popular cat memes.'”

-- “The Internet is made of kittens” (How the lowly cat, shunned by Hollywood, became an online star)


PLUS: “The Best Cat Video You'll Ever See” (Aver nga.)

Forbidden love in Ateneo BlueRep's rock musical Bare

Ateneo Blue Repertory, the country’s premier college musical theater organization, closes its 17th season with “Bare,” a rock musical about two gay teenagers struggling to find their place in the world as they are about graduate from a Catholic high school.

Jason is the senior class golden boy--athlete, heartthrob and potential valedictorian. But behind the face he shows to the world, he hides a secret: He is in a romance with his shy roommate, Peter. Things get more complicated when popular girl Ivy pursues Jason.

Written by Jon Hartmere Jr. and Damon Intrabartolo, “Bare” received the 2001 Los Angeles Ovation Awards for Best Musical and Best Original Score.

Under the direction of Ana Abad-Santos (director, Repertory Philippines’ “Hamlet,” and Candida in the recent “A Portrait of the Artist as a Filipino”) and musical direction by Felix Rivera (musical director, BlueREP’s “High School Musical,” and lead role in Atlantis Productions' “Avenue Q”), “Bare” runs February 17-March 7 at the Fine Arts Exhibit Hall, 3/F Gonzaga Hall, at the Ateneo De Manila University.

Show dates: February 17-21, February 24-28 and March 3-7, all at 7:30 p.m.

Tickets are priced at P200 each. Call Alexa Yupangco 0917-7220805 or visit BareManila.multiply.com.

Bembol Roco leads cast of Kung Paano Maghiwalay

First presented as a staged reading during the Virgin Labfest 4 at the CCP last year, George de Jesus III's play "Kung Paano Maghiwalay" tackles the subject of love at the moment of breaking up.

The play unfolds in a non-linear manner with the different characters caught grappling and confronting the dissolution of their relationships. Emotions come to the fore, all seeking to answer the question: Where does love go when a relationship ends?

The new theater company Stage Right Theater Productions, Inc. brings "Kung Paano Maghiwalay" to the stage with a powerhouse cast of thespians: Madeleine Nicolas, Bituin Escalante, Aiza Marquez, Gilleth Sandico, Gem Padilla, Juliene Mendoza, Eric dela Cruz, GA Fallarme, John Lozano, Erwin Flores, Kristine Balmes, Lorna Lopez and Bembol Roco.

Playdates will be on February 16 to 21, 23 and 24, 10:30 a.m., 1:30 and 4:30 p.m. at the Bulwagang Balagtas, PUP Library.

For inquiries, please contact 0915-7859325, 0922-8559139 and 0928-9077777.

Rep's Valentine offering: I Love You Because

Repertory Philippines' new offering, “I Love You Because” (ILYB), is a heartwarming Off-Broadway musical retelling of Jane Austen’s "Pride and Prejudice."

With lyrics by Ryan Cunningham and music by Joshua Salzman, ILYB is a delightful story about four individuals--two couples who find love in people and places they least expect.

The young cast includes Harold Cruz, Caisa Borromeo, Kyla Rivera, Gabs Santos, Anna Santamaria and Onyl Torres.

REP veteran Robbie Guevara directs the musical, while Francis Matheu choreographs. With them are Mio Infante for set design, Martin Esteva for lights, Onyl Torres as vocal coach and Jojo Malferrari as both musical director and repetiteur.

ILYB is a show about taking chances, breaking stereotypes, falling head over heels in love, and peeling away the facade and fairy-tale illusions that distract us from seeing what--or who--is really in front of us. As a song in the musical goes, “It’s easy to say, ‘I love you, anyway.’ But I don’t. I love you because.”

ILYB will be showing on all weekends from February 13 to March 8, with Friday and Saturday shows at 8 p.m., and Saturday and Sunday matinees at 3:30 p.m. For ticket inquiries and reservations, call Ticketworld 8919999 or the REP office 8870710. Visit www.repertory.ph or www.ticketworld.com.ph

PHILSTAGE’s Gawad Buhay! nominees bared, CCP awards rites set on February 18

[Complete list of nominees below]

Ballet Philippines’ productions of New Beginnings and Coppelia romped off with seven major nominations in the fourth quarter citations list released by the jury of the 2008 Gawad Buhay!, The PHILSTAGE Awards for the Performing Arts.

New Beginnings earned the jury’s nod for outstanding dance production, ensemble performance, choreography (Max Luna III and Alan Hineline), and set design (Gino Gonzales). Coppelia was cited for ensemble performance and set design (Mio Infante).

Tanghalang Pilipino’s Mga Gerilya sa Powell Street earned citations for ensemble performance, male lead performance (Joe Gruta and Dido dela Paz) and featured performance (Mailes Kanapi).

Ballet Manila’s Tatlong Kuwento ni Lola Basyang was cited for costume design.

Gawad Buhay! is the first industry awards conferred for outstanding achievements in the performing arts by member-companies of the Philippine Legitimate Stage Artists Group, Inc. (PHILSTAGE). The PHILSTAGE Board of Directors is composed of Tanghalang Pilipino’s Fernando Josef, president; PETA's Melvin Lee, vice president; Ballet Philippines’ Sandy Hontiveros, secretary; Repertory Philippines' Gidget Tolentino, treasurer; Actors Actors’ Leonardo Lim, Ballet Manila's Susan Macuja, Gantimpala Theater Foundation’s Tony Espejo, Organisasyon ng Pilipinong Mang-aawit’s Mitch Valdes, TRUMPETS' Joel Reyes as Board Members, and PHILSTAGE Executive Director Elmar Beltran Ingles.

While PHILSTAGE administers the awards, the final recipients will be chosen by an independent Jury Panel selected by the PHILSTAGE Board of Directors from a roster of critics, performing artists, cultural researchers and scholars, and the general public.

The public is invited to watch the final awards rites to be held at the CCP Tanghalang Aurelio Tolentino (Little Theater) at 7:30 p.m. on February 18, 2009. Invited to present the awards are the country’s foremost theater personalities.

THE COMPLETE LIST OF NOMINEES:

OUTSTANDING PRODUCTION OF A PLAY
Ang Bayot, ang Meranao, at ang Habal-Habal sa Isang Nakababagot na Paghihintay sa Kanto ng Lanao del Norte, Tanghalang Pilipino/Virgin Labfest 4
Batang Rizal, PETA
Ellas Inocentes, Tanghalang Pilipino/Virgin Labfest 4
The Golden Child, Tanghalang Pilipino
Hamlet, Repertory Philippines
Ang Kalungkutan ng Mga Reyna, Tanghalang Pilipino/Virgin Labfest 4
Kudeta, Tanghalang Pilipino
Three Sisters: A Noh Play, Tanghalang Pilipino/Virgin Labfest 4

OUTSTANDING MUSICAL PRODUCTION
Altar Boyz, Repertory Philippines
Skin-Deep, PETA

OUTSTANDING DANCE PRODUCTION
La Revolucion Filipina, Ballet Philippines
Latin Heat, Ballet Philippines
New Beginnings, Ballet Philippines

OUTSTANDING STAGE DIRECTION
Loy Arcenas, The Golden Child
Chari Arrespacochaga, Altar Boyz
Nor Domingo, Skin-Deep
Jose Estrella, Three Sisters
Floy Quintos, Ang Kalungkutan ng Mga Reyna
Floy Quintos, Kudeta
Tuxqs Rutaquio, Ellas Inocentes
Dudz Teraña, Batang Rizal

OUTSTANDING ORIGINAL CHOREOGRAPHY
Bam Damian, Latin Heat
Alan Hineline, New Beginnings
Agnes Locsin, La Revolucion Filipina
Alden Lugnasin, Latin Heat
Max Luna III, New Beginnings
Jason Zamora, Altar Boyz

OUTSTANDING ORIGINAL PLAY
Batang Rizal, Christine Bellen
Ang Bayot, ang Meranao, at ang Habal-Habal sa Isang Nakababagot na Paghihintay sa Kanto ng Lanao del Norte, Rogelio Braga
Ellas Inocentes, Layeta Bucoy
Ang Kalungkutan ng Mga Reyna, Floy Quintos

OUTSTANDING ENSEMBLE PERFORMANCE
Altar Boyz, Repertory Philippines
Ang Bayot, ang Meranao, at ang Habal-Habal sa Isang Nakababagot na Paghihintay sa Kanto ng Lanao del Norte, Tanghalang Pilipino/Virgin Labfest 4
Mga Gerilya sa Powell Street, Tanghalang Pilipino
Batang Rizal, PETA
Coppelia, Ballet Philippines
Ellas Inocentes, Tanghalang Pilipino/Virgin Labfest 4
The Golden Child, Tanghalang Pilipino
Hamlet, Repertory Philippines
Kudeta, Tanghalang Pilipino
La Revolucion Filipina, Ballet Philippines
Latin Heat, Ballet Philippines
Mga Kuwento ni Lola Basyang, PETA
New Beginnings, Ballet Philippines
Skin-Deep, PETA

OUTSTANDING MALE LEAD PERFORMANCE IN A PLAY
Arthur Acuna, The Golden Child
Jose Mari Avellana, Tuesdays with Morrie
Dido de la Paz, Mga Gerilya sa Powell Street
Joe Gruta, Mga Gerilya sa Powell Street
Mario O'Hara, Kudeta
Joey Paras, Ang Bayot, angMeranao, at ang Habal-Habal sa IsangNakababagot na Paghihintay sa Kanto ng Lanao del Norte
Arnold Reyes, Ang Bayot, ang Meranao, at ang Habal-Habal sa IsangNakababagot na Paghihintay sa Kanto ng Lanao del Norte
Jonathan Tadioan, Pamantasang Hirang

OUTSTANDING FEMALE LEAD PERFORMANCE IN A PLAY
Lovely Balili, Ellas Inocentes
Liesl Batucan, The Golden Child
Shamaine Centenera-Buencamino, Ang Kalungkutan ng Mga Reyna
Tina Chilip, The Golden Child
Jenessa Roque, Ellas Inocentes
Irma Adlawan-Marasigan, The Golden Child

OUTSTANDING MALE LEAD PERFORMANCE IN A MUSICAL
Red Concepcion, Altar Boyz
Juliene Mendoza, EJ: Ang Pinagdaanang Buhay nina Evelio Javier at Edgar Jopson
Jett Pangan, EJ: Ang Pinagdaanang Buhay nina Evelio Javier at Edgar Jopson
Robert Seña, Skin-Deep

OUTSTANDING FEMALE LEAD IN A MUSICAL
Isay Alvarez, Skin-Deep
May Bayot, Skin-Deep
Gail Guanlao Billones, Skin-Deep

OUTSTANDING MALE LEAD PERFORMANCE IN A DANCE PRODUCTION
Biag Gaongen, La Revolucion Filipina
Biag Gaongen, Latin Heat

OUTSTANDING FEMALE LEAD PERFORMANCE IN A DANCE PRODUCTION
Lisa Macuja Elizalde, Le Corsaire

OUTSTANDING FEATURED PERFORMANCE IN A DANCE PRODUCTION
No nomination

OUTSTANDING FEATURED PERFORMANCE IN A PLAY
Riki Benedicto, Kudeta
Bong Cabrera, Kudeta
Willy Casero, Batang Rizal
Nor Domingo, Tosca
Mailes Kanapi, Mga Gerilya sa Powell Street
Raffy Tejada, Tosca
Cris Villonco, Hamlet

OUTSTANDING FEATURED PERFORMANCE IN A DANCE PRODUCTION
Camille Ordinario-Joson, Latin Heat

OUTSTANDING ORIGINAL LIBRETTO
Vincent De Jesus, Batang Rizal
Vincent De Jesus, Skin-Deep

OUTSTANDING TRANSLATION/ADAPTATION
George de Jesus III, Kudeta
Dennis Marasigan, The Golden Child

OUTSTANDING MUSICAL DIRECTION
Vincent De Jesus, Batang Rizal
Jojo Malferrari, Altar Boyz

OUTSTANDING SET DESIGN
Loy Arcenas, The Golden Child
Mel Bernardo, Mga Kuwento ni Lola Basyang
Gino Gonzales, New Beginnings
Mio Infante, Coppelia
Mio Infante, La Revolucion Filipina
Tuxqs Rutaquio, Kudeta

OUTSTANDING COSTUME DESIGN
Ron Alfonso, Mga Kuwento ni Lola Basyang
Faust Peneyra, Hamlet
Gino Gonzales, The Golden Child
Jonathan Janolo, Tatlong Kuwento ni Lola Basyang
Victor Ursabia, La Revolucion Filipina

OUTSTANDING LIGHTING DESIGN
Katsch Catoy, La Revolucion Filipina
Martin Esteva, Hamlet
Dennis Marasigan, Kudeta
Barbi Tan-Tiongco, The Golden Child

OUTSTANDING SOUND DESIGN
Janice Dee, Kudeta
Jethro Joaquin, EJ: Ang Pinagdaanang Buhay nina Evelio Javier at Edgar Jopson
Jethro Joaquin, Hamlet
Shima Takesi, Tosca
Gidget Tolentino, Altar Boyz
J. Victor Villareal, The Golden Child

Again, the public is invited to watch the final awards rites to be held at the CCP Tanghalang Aurelio Tolentino (Little Theater) at 7:30 p.m. on February 18, 2009.

First look: Spring Awakening, Manila cast

[Update: Gone too soon. Sorry, friends, the video will have to be taken down for now--copyright issues.]

From the recent Pasinaya Open House Festival at the CCP--select cast members of Atlantis Productions' forthcoming Spring Awakening perform two numbers from the musical, I Believe and The Song of Purple Summer (video below). The Manila production, to be directed by Chari Arespacochaga, will run September-October 2009.

The performers: Nicco Manalo, Marvin Ong, Robby Romero, Bea Garcia, Yanah Laurel, Ava Santos, Cherry Alba. (Not the whole cast, by the way--the musical will have three more young members joining the group, plus those playing the grown-up parts.)

The kids sound rather thin and tentative in the first song, but appear to have found their footing in The Song of Purple Summer, which already sounds warm and full-bodied at this early stage. The soloists with the soaring voices are Bea Garcia (center) and Marvin Ong (leftmost)--the latter the youngest musical actor I cited in my year-end roundup last year for his impressive work in Ateneo BlueRep's Bat Boy, The Musical. Nicco Manalo, too, was in that list, with a Best Featured Actor citation for his shape-shifting turn in the straight play Marisol.

Needless to say, the thought of witnessing a new generation of fresh and very promising talents like them fire up the stage in perhaps the most electric Broadway musical in years--you've heard the Tony-winning Duncan Sheik-Steven Sater score, haven't you?--is an exciting prospect. Ah, the bitch of livin'--September is still seven months away. Enjoy this teaser for now.



[Update: Gone too soon. Sorry, friends, the video will have to be taken down for now--copyright issues.]

The search is on for the next Fabcaster!

All for fun, really, since, as McVie points out at the end of the podcast, “Migs is irreplaceable.” Natch, naturellement! The occasion was a small get-together the Fabcasters (McVie, CC, AJ, Tony, Migs and moi) held last Saturday as a sort of send-off party for Migs, who's moving to another country very soon. You wouldn't hear me in the podcast, as I arrived a bit late and missed my chance to grill the “candidates.” (“So, aside from your face, what is your problem?” Choz!) But here it is, the “Search for the Next Fabcaster” edition, produced and edited by McVie. Warning: Not for the prissy or the laugh-averse!

Listen (12 minutes 44 seconds):


Download the MP3 (right click and save)

Join the IIFA Acting for the Camera workshop

The International Institute for Film and Arts invites actors and acting enthusiasts to a three-day workshop on "Acting for the Camera" on February 26-28, 2009, from 9 a.m. to 4 p.m. The workshop will be conducted at the IIFA Lab 315, Evekal Building, 855 Arnaiz Avenue (Pasay Road), Makati City, with IIFA President Cris Mojica as Workshop Master.

Participants to the "Acting for the Camera Workshop" will be introduced to the rudiments of acting in short projects for television and film and will have the chance to participate in workshop productions of television commercials. They will also meet award-winning actors who will share their experiences and provide career advice. No previous experience in television and film is required.

Workshop fee is P 8,000 inclusive of snacks and meals, and limited scholarship opportunities are available. For inquiries and reservation, call telephone 8187201, mobile 0917-7963664 or 0916-5918815, or e-mail filmarts.manila@gmail.com.

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 www.tdf.org.

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!

Summer workshops with PETA, Tanghalang Pilipino

PETA. The annual PETA Summer Theater Arts Workshop is now open for enrollment. Now on its 3rd year, the PETA Summer Theater Arts Workshop is known to advance and promote creativity among children and adults alike. With dynamic courses that focus on visual arts, music, dance, theater and production design, participants are sure to learn and acquire knowledge, skills and attitudes that distinctly discover each one's creative power and potential.

For young aspiring actors and artists, PETA offers Children's Theater (1and 2) and Production Workshop for Children. For teens, there's Teen Theater, Production Workshop for Teens and Theater Arts 1, where students learn about creative dance, music, writing, visual arts and group dynamics.

For aspiring thespians, performers and musically-inclined individuals, PETA also offers an advanced course in Basic Acting for Theater, Creative Musical Theater and Creative Dance. Visual Arts enthusiasts can also learn more about lighting techniques, costumes and scenic design through the Production Design course.

Aside from children, teens and aspiring thespians, teachers and moderators are also invited to attend PETA's Creative Pedagogy course, in which teachers are taught to craft and enhance their teaching methods using a creative approach.

All workshop courses are ended by a recital and graduation. Courses run from April to May at the PETA Theater Center, No. 5 Eymard Drive, New Manila Quezon City.

For inquiries you may reach PETA Marketing at 4100821-7256244 or 0917 5138698, petampro@yahoo.com.

TANGHALANG PILIPINO. TP's 2009 Summer Theater Adventure is a three-week program of various theatrical activities for different age levels designed to develop, hone and explore the dramatic skills and talents of aspiring theater artists. TP has been praised by parents and students for the excellent experience and intensive training it imparts on the participants.

The summer classes are for children, teens and adults, facilitated by some of the country's most outstanding thespians and practitioners in the field. The time-tested syllabus for each class is carefully designed, reviewed and revised to provide students with the most up-to-date theater performance techniques and enable them to develop their own style. Kids, teens and adults, can choose from the following courses:

CHILDREN'S THEATER 1 (5-8 yrs. old) and CHILDREN'S THEATER 2 (9-12 yrs. old): creative dramatics for children using games, storytelling techniques, movement, music and masks as tools of expression

TEEN THEATER (13-16 yrs. old): an introduction to performance skills for young adults, the course integrates creative drama, music, writing, movement and visual arts to explore themes concerning the youth

BEGINNING ACTING (17 yrs. old & above): a practical application of the rudiments of acting including concentration, spontaneity, improvisation, confidence, body and voice preparation, characterization and script analysis to create a unique and authentic life on stage

MUSICAL THEATER FOR TEENS (12-16 yrs. old) and ACTING IN MUSICAL THEATER (17 yrs. old & above): singing, movement and acting classes are synthesized to prepare actors for performance in musical theater productions.

REHEARSAL AND PERFORMANCE TECHNIQUES (18 years old and above): study and application of skills in movement, voice, text and character analysis and improvisation leading to a group performance. Prior acting experience required.

STAGE AND PRODUCTION MANAGEMENT (18 years old and above): Organizing the production, communicating across different disciplines, and keeping everything running smoothly. Learn about the seamless management of the technical as human aspects of a production.

Perform at the CCP! Each workshop culminates in a recital held at the Cultural Center of the Philippines--Tanghalang Huseng Batute. Students, who enroll in the 2009 Summer Theater Adventure get the chance to be invited to audition or perform in the regular season plays and special shows produced by TP. They also get the chance to be seen by talent scouts during the workshop recitals.

For schedules, discounts and other inquiries, call TP (02)8323661 or (02)8321125 local 1620/1621, fax (02)832-3661 or e-mail ccptanghalan@yahoo.com

Bart Guingona to take hiatus from theater

Premiere actor-director Bart Guingona, marking his 25th year in theater this year, is having “an existential moment,” as Apa Ongpin put it in his article in last Monday's issue of the Inquirer.

“He recently announced that to celebrate his 25th year in theater, he would stage a solo production of a play called The Atheist, a single-actor monologue that is as determinedly noncommercial as you could imagine. He then announced it might well be his last appearance onstage.”

The reason? “He was elected leader of Pagbabago, and oversaw its evolution from a protest group into a nonpartisan political organization. 'We do a lot of projects now, quietly, that I really believe in,' Mr. Ongpin quoted Bart as saying. 'I saw that this was a path to what I originally wanted to do, to change society for the better. So maybe, just maybe, I will leave theater and pursue this full-time.'”

The article's parlous and rather casual mention of such a momentous decision on Bart's part was unsatisfying, so I rang him up and asked for a clarification. Is it true he's contemplating leaving the industry?

“Let's put it this way: I'm just focusing my energy on other things. I will still dabble in theater, but it won't be my main focus for some time. Di na kaya ng powers ko to multi-task,” he explained.

Aside from acting, directing and managing the affairs of his theater group (Actors' Actors, Inc.), Bart said his time these days is greatly occupied by his socio-political advocacy. “Between that and the theater, I find myself really stretched. Trying to get funding for the NGO and my theater projects, it's like 'Ouch!'”

“I'm not throwing up my hands or turning my back on theater; I'm just refocusing. I don't mind doing stuff I've done before, so I'd probably still do repeats of Tuesdays With Morrie and Art this year. But I don't want to be the main player in any project for some time.”

Then the admission: “And, let's face it, in theater, I haven't been doing anything lately that makes my blood rush. I want to do something at this point where I can make a difference more readily.”

His work with Pagbabago, “a political but non-partisan organization,” gives him a different sense of satisfaction, he pointed out.

And how long will this break be? “Maybe a year or more.”

“Unless,” he added, “something really compelling comes along. Say, someone gets me to do Coriulanus. Or Titus Andronicus. Or Richard III. When that happens, kakainin ko lahat ng sinabi ko!”

In the Inquirer article, the actor also touched on his nine-year stint with Repertory Philippines, and his subsequent decision to bet his shirt on risky, unconventional plays, or what he called “The Necessary Theater:”

“'After nine years at Rep, I was burnt out... At that time, I was becoming increasingly disenchanted with the material. Rep had started out with noble intentions, but by the late ’80s, it was almost totally commercialized. I don’t say this in a critical way. I mean, tickets were sold, seats were filled and all that. But it wasn’t what I got into theater to do. It wasn’t me any more.'

[“Guingona’s search for meaning led him to stage plays with his new company that, while noncommercial, were critically acclaimed, and, for him, culturally significant.]

“'To make a long story short, I lost my shirt. And pants. And socks. And everything.'

“'I put up these plays because I think these are things that need to be said. I knew it was quixotic from the get-go. But I felt, as I feel today, these were plays that must be seen and heard and thought about by our society. I don’t regret a minute of it, nor do I regret a centavo of it.'”

The Atheist--an intense 80-minute monologue, another one of those plays that he thinks must be seen and heard--will have a single gala performance at the Ayala Museum at 8 p.m. on Feb. 6 for the benefit of Ayala Foundation’s various education programs. (Text or call 0918-9029031 or 0918-4425139 for info and tickets.)

After that, who knows? “It remains to be seen where Bart Guingona’s existential moment will lead him—and us,” concluded Mr. Ongpin.

We'll be right here waiting, Bart.