Or, some of the best, at least--those that would be top-of-mind for a 10-minute-plus medley. The description is no oxymoron. Jim Paredes himself told me once that OPM was coined by his co-Apo Danny Javier in the '70s to describe not only songs in Filipino, but also English-language songs written by Filipino musicians, composers and lyricists.
Even as they helped change the sound of local pop music with their cavalcade of Filipino hits (where would the Eraserheads be without the Apo?), Jim, Buboy and Danny also dabbled in the occasional English song, e.g., Anna and Just a Smile Away. Then there was Jose Mari Chan, who was responsible for Deep In My Heart, Can We Just Stop and Talk Awhile, etc.
In the '80s, arguably the golden age of OPM, songwriters such as Odette Quesada led the way with now-classic ditties such as Don't Know What to Do, Don't Know What to Say, popularized by Ric Segreto, and Till I Met To You, which Kuh Ledesma sung to a first-prize finish at the Metropop Music Festival. Willy Cruz had a massive hit in Never Ever Say Goodbye, while Ryan Cayabyab churned out the challenging pop melodies How Can I, Once Upon a Life, Sometime, Somewhere.
And how can we forget composer Louie Ocampo and songstress Joey Albert, their partnership spawning the likes of Tell Me, Points of View, Without You. And the list goes on.
Anyway--the trigger for this reminiscin'? A video I found in my baul, of Martin Nievera, Roselle Nava (in peak voice here--where is she now?), Geneva Cruz and The Company singing songs from the the Great (English-language) OPM Songbook, at the Kulturang Handog sa Bayan concert many moons ago. [Mickey Munoz, thank you as always!]
Ah, those were the days. You've heard the medley. Now, if you were to do your own mash-up, what favorite OPM songs in English would you put in?
Thursday, March 31, 2011
Tuesday, March 29, 2011
India--once more, with Travel Time feeling
Did you know that Susan Calo-Medina now has a magazine called--what else--Travel Time? The peripatetic lady, her TV travel show already an institution, has decided to put the stories, pictures and memories of her eternal wanderlust to regular print. It's not just her, though--the magazine carries her imprint and vision, but it also runs other stories by invited contributors. (Cue spotlight on me here.)
Susan Calo-Medina's Travel Time (its longish proper name) comes out quarterly, for now. For the issue about to roll out this Friday, Tita Susan and editorial director Floy Quintos (who, before his current multi-hyphenate career, had cut his teeth on rag work as one of the editors of the early Metro magazine) asked me to submit a story on my recent India trip. I hemmed and hawed for the longest time because I had blogged about it a couple of times, and I also owed the Inquirer the major travel story (eventually, this one).
The magazine piece I delivered was a bit longer, more ruminative (I think), in keeping with Floy's dictum for a more point-of-view take, rather than a straightforward travelogue. Forgive me if I also feel quite clever about the title I gave it: Heat and Dust--Surprise and Surrender in Incredible India. When I received the proofs, I was overjoyed--not only was the layout clean and lovely, but the team had also taken a number of my photos and, by dramatic cropping alone, made them look more compelling, more professional-looking, than I had ever thought possible. On the page, they looked, uhm, stunning. Now this was the India I had seen--a visual blast, a whirligig of color, an atmospheric head trip. Thank God for art directors!
An excerpt, and the layout:
For your sense of reassurance, it pays to read first about India—or, better yet, book an experienced guide—before you sally forth with sandalwood-scented visions of elephant rides, a visit to the Taj Mahal and other exotic adventures swimming in your head.
That’s because a trip to India will not be one of those easy, or easygoing, jaunts to places where everything works, the amenities are always plush and fuss-free, the conditions conducive to bland relaxation and bliss. Don’t get us wrong--the country has its share of world-class hotels, cities of gleaming skyscrapers and pulsating nightlife, sprawling modernity. New Delhi, the capital of the British Raj, has the look and feel of a European city--a well-planned urban grid of broad boulevards, lovely parks and stately architecture.
But as our chatty, erudite guide Abhi pointed out, “To get a real picture of India, you have to get out of the city and see the countryside.”
The countryside is where the ancient pulse of India is found. The country, said Abhi, remains very much rooted in agriculture, with vast swaths of the Indian subcontinent--those not given over to searing desert, such as the mythical sands of Rajasthan, or the frigid northern plains aired by the Himalayas--a teeming home to hundreds of millions of humble folk still bound by tasks, customs and rituals that have run the course of centuries.
A drive from Delhi to Agra, site of India’s most emblematic structure, the Taj Mahal, translates to five hours of some of the most picturesque, arresting sights you would see in India: brown flat plains as far as the eye can see; riots of color and ceaseless activity at roadside markets and rural intersections (lucky if you chance upon a wedding--a virtual village bacchanalia of music, dancing, food and ornate finery); serene scenes of hamlets and bovine herds against citron-colored mountains; that fine, early-morning Himalayan mist coating India’s so-called Golden Triangle--Delhi, Agra and Jaipur--with a magical, sensuous air before the sun’s onslaught at high noon...
“To my mind, the defining image of India is the crowd,” Salman Rushdie once wrote. And that heaving, throbbing multitude will confront you everywhere you go--at the market, in the temple, on overloaded boats and rickety buses, along dusty road and concrete highway alike, in every space where Indians, now 1.2 billion strong, can sink roots into, proceed with the business of living and pray to their gods for strength and succor.
The rest? The magazine's out starting this Friday. Do buy!
Susan Calo-Medina's Travel Time (its longish proper name) comes out quarterly, for now. For the issue about to roll out this Friday, Tita Susan and editorial director Floy Quintos (who, before his current multi-hyphenate career, had cut his teeth on rag work as one of the editors of the early Metro magazine) asked me to submit a story on my recent India trip. I hemmed and hawed for the longest time because I had blogged about it a couple of times, and I also owed the Inquirer the major travel story (eventually, this one).
The magazine piece I delivered was a bit longer, more ruminative (I think), in keeping with Floy's dictum for a more point-of-view take, rather than a straightforward travelogue. Forgive me if I also feel quite clever about the title I gave it: Heat and Dust--Surprise and Surrender in Incredible India. When I received the proofs, I was overjoyed--not only was the layout clean and lovely, but the team had also taken a number of my photos and, by dramatic cropping alone, made them look more compelling, more professional-looking, than I had ever thought possible. On the page, they looked, uhm, stunning. Now this was the India I had seen--a visual blast, a whirligig of color, an atmospheric head trip. Thank God for art directors!
An excerpt, and the layout:
For your sense of reassurance, it pays to read first about India—or, better yet, book an experienced guide—before you sally forth with sandalwood-scented visions of elephant rides, a visit to the Taj Mahal and other exotic adventures swimming in your head.
That’s because a trip to India will not be one of those easy, or easygoing, jaunts to places where everything works, the amenities are always plush and fuss-free, the conditions conducive to bland relaxation and bliss. Don’t get us wrong--the country has its share of world-class hotels, cities of gleaming skyscrapers and pulsating nightlife, sprawling modernity. New Delhi, the capital of the British Raj, has the look and feel of a European city--a well-planned urban grid of broad boulevards, lovely parks and stately architecture.
But as our chatty, erudite guide Abhi pointed out, “To get a real picture of India, you have to get out of the city and see the countryside.”
The countryside is where the ancient pulse of India is found. The country, said Abhi, remains very much rooted in agriculture, with vast swaths of the Indian subcontinent--those not given over to searing desert, such as the mythical sands of Rajasthan, or the frigid northern plains aired by the Himalayas--a teeming home to hundreds of millions of humble folk still bound by tasks, customs and rituals that have run the course of centuries.
A drive from Delhi to Agra, site of India’s most emblematic structure, the Taj Mahal, translates to five hours of some of the most picturesque, arresting sights you would see in India: brown flat plains as far as the eye can see; riots of color and ceaseless activity at roadside markets and rural intersections (lucky if you chance upon a wedding--a virtual village bacchanalia of music, dancing, food and ornate finery); serene scenes of hamlets and bovine herds against citron-colored mountains; that fine, early-morning Himalayan mist coating India’s so-called Golden Triangle--Delhi, Agra and Jaipur--with a magical, sensuous air before the sun’s onslaught at high noon...
“To my mind, the defining image of India is the crowd,” Salman Rushdie once wrote. And that heaving, throbbing multitude will confront you everywhere you go--at the market, in the temple, on overloaded boats and rickety buses, along dusty road and concrete highway alike, in every space where Indians, now 1.2 billion strong, can sink roots into, proceed with the business of living and pray to their gods for strength and succor.
The rest? The magazine's out starting this Friday. Do buy!
PETA's Care Divas back for encore performances, April 1-3
After 36 successful shows, rave reviews from both audiences and critics, numerous sold-out shows and roaring standing ovations, the Philippine Educational Theater Association (PETA)’s hit musical dramedy “Care Divas” is back for a series of encore performances.
The extended shows are on (Fri) April 1, 8 p.m.; (Sat) April 2, 3 p.m. and 8 p.m. and (Sun) April 3, 3 p.m. and 8 p.m.
Seen at the PETA Theater Center last March 13, the closing night of the play's regular run, were Sharon Cuneta, KC Concepcion, Regine Velasquez, Ogie Alcacid, John Lapus and recently-turned drag queen actor of “I heart you, Pare”, Tirso Cruz III.
John Lapus shared via his social network page: “Ang husay! So worth it. Congrats to all. Grabe! Uulit ako, PS pinaiyak niyo ako. Im so thankful. Matagal na kong hindi umiiyak.”
In a message sent by Megastar Sharon Cuneta to Melvin Lee (Chelsea): “You are! Ang galing galing galing, walang dull moment!”
In a review by (production designer/writer) Martin Masadao, Legarda is commended for her excellent treatment of the script: “Legarda does not patronize nor trivialize the OFW experience. It was good judgment on her part to exercise restraint so that the production does not come out too campy. The Care Divas' musical numbers are at the opposite end of the usual gay-comedy-bar-routine of excess, slapstick and coarse jesting.”
The show was inspired by general life-stories of OFWs who work as care givers of elderly Jews in the morning and pursue their own personal dreams as drag performers at night.
Written by Liza Magtoto and directed by Maribel Legarda, this highly physical, visually exciting and wickedly funny play stars Melvin Lee, Vincent De Jesus, Phil Noble, Buddy Caramat, Dudz Teraña, Jason Barcial, Eric dela Cruz and PETA President Cecilia Garrucho, guest performer Paul Holme, Ricci Chan, Jerald Napoles, Myke Salomon, Angeli Bayani, Miguel Hidalgo and Dominic Miclat-Janssen. The original music and lyrics are by Vince De Jesus.
Call 7256244, 4100821 or 0917-5642433, petatheater@gmail.com.
Monday, March 28, 2011
I wish I could have written this editorial.
[From today's Inquirer]
NO HERO
Ferdinand Marcos was a fraud. He ran for every higher office as a democrat, but killed democracy when he imposed martial rule. He promised to make the nation “great again,” but burdened the country with behest loans, crony economics and epic corruption, turning it under all that weight into “the sick man of Asia.” He presented himself as a lawyer serving the law, but prostituted the legal system (defenders like the journalist Teodoro Valencia were happy to parrot the line about “constitutional authoritarianism”) to make it serve what the rest of the world remembers as a “conjugal dictatorship.”
Also, and perhaps above all, he pretended to be a World War II hero, but in fact the opposite was true. He was anything but.
On Jan. 23, 1986, or two weeks before the crucial snap election he was forced to call took place, the New York Times ran a front-page article that began: “The U.S. Army concluded after World War II that Ferdinand Marcos’ claims of heading a guerrilla resistance unit during the Japanese occupation of his country were ‘fraudulent’ and ‘absurd.’” The article, based in part on the historian Alfred McCoy’s groundbreaking research on US military archives, summed up the matter raised by other news organizations, such as the San Jose Mercury News, thus: “Between 1945 and 1948 various U.S. Army officers rejected Marcos’ two requests for official recognition of the unit, calling his claims distorted, exaggerated, fraudulent, contradictory and absurd. Army investigators finally concluded that Maharlika was a fictitious creation and that ‘no such unit ever existed’ as a guerrilla organization during the war.”
To the scheming, ruthless, extraordinarily ambitious founder of this fictitious creation, some 204 congressmen now propose to offer the final accolade: burial at the Libingan ng mga Bayani. To the perpetrator of this “absurd” and unconscionable fraud, the great majority of congressmen, almost as many as those who voted to impeach Ombudsman Merceditas Gutierrez, now propose to offer belated redemption. To the dictator who caused the death and torture of (literally) tens of thousands of Filipinos, and whom millions of Filipinos (quite literally) chased out of Malacañang Palace through the revolution on EDSA, 204 members of a restored Congress now propose to offer, not an accounting, but closure.
For shame.
After acquitting themselves honorably in the matter of the Gutierrez impeachment, treating the case with due diligence and all deliberate speed, many of the same congressmen have disgraced themselves by hastily signing the House resolution endorsing a Marcos burial at the Libingan ng mga Bayani.
None of the reasons that have been advanced even remotely does justice, either to the horrors of the martial law experience or to the elaborate fraud the fake guerrilla leader of a fake guerrilla unit perpetrated on the Filipino people.
It will not do to forget or even to forgive the Marcoses for the brutality of their martial regime—because they have refused, until now, to ask for forgiveness or to admit the brute truth. It will not do to equate the situation of former defense secretary Angelo Reyes with that of Marcos—because the allegations against Reyes had not been proven, but the many charges against Marcos have been proven again and again, most recently by the symbolic turnover of token checks for thousands of human rights victims. It will not do to follow the 25th anniversary of the first people power revolution, the template for peaceful uprisings that came after, by honoring the man ousted by that revolution with a hero’s burial—because to do so is to spit on the sacrifice of the assassinated Ninoy Aquino and many other victims of the Marcos dictatorship, whose spilt blood led, inexorably, to EDSA.
Above all, it will not do to remember Marcos as a military hero—because his claims, and his many war medals, were as fake as his “adherence to democracy.”
There is no question that the Mt. Samat memorial pays much-deserved tribute to the “battling bastards” of Bataan. Unfortunately for our own sense of history, that same memorial, so closely identified with Marcos’ own political career, has served to cover Marcos’ questionable activity during World War II with the borrowed aura of real heroes. To bury Marcos at the Libingan ng mga Bayani is to make that outrageous borrowing a permanent scandal.
NO HERO
Ferdinand Marcos was a fraud. He ran for every higher office as a democrat, but killed democracy when he imposed martial rule. He promised to make the nation “great again,” but burdened the country with behest loans, crony economics and epic corruption, turning it under all that weight into “the sick man of Asia.” He presented himself as a lawyer serving the law, but prostituted the legal system (defenders like the journalist Teodoro Valencia were happy to parrot the line about “constitutional authoritarianism”) to make it serve what the rest of the world remembers as a “conjugal dictatorship.”
Also, and perhaps above all, he pretended to be a World War II hero, but in fact the opposite was true. He was anything but.
On Jan. 23, 1986, or two weeks before the crucial snap election he was forced to call took place, the New York Times ran a front-page article that began: “The U.S. Army concluded after World War II that Ferdinand Marcos’ claims of heading a guerrilla resistance unit during the Japanese occupation of his country were ‘fraudulent’ and ‘absurd.’” The article, based in part on the historian Alfred McCoy’s groundbreaking research on US military archives, summed up the matter raised by other news organizations, such as the San Jose Mercury News, thus: “Between 1945 and 1948 various U.S. Army officers rejected Marcos’ two requests for official recognition of the unit, calling his claims distorted, exaggerated, fraudulent, contradictory and absurd. Army investigators finally concluded that Maharlika was a fictitious creation and that ‘no such unit ever existed’ as a guerrilla organization during the war.”
To the scheming, ruthless, extraordinarily ambitious founder of this fictitious creation, some 204 congressmen now propose to offer the final accolade: burial at the Libingan ng mga Bayani. To the perpetrator of this “absurd” and unconscionable fraud, the great majority of congressmen, almost as many as those who voted to impeach Ombudsman Merceditas Gutierrez, now propose to offer belated redemption. To the dictator who caused the death and torture of (literally) tens of thousands of Filipinos, and whom millions of Filipinos (quite literally) chased out of Malacañang Palace through the revolution on EDSA, 204 members of a restored Congress now propose to offer, not an accounting, but closure.
For shame.
After acquitting themselves honorably in the matter of the Gutierrez impeachment, treating the case with due diligence and all deliberate speed, many of the same congressmen have disgraced themselves by hastily signing the House resolution endorsing a Marcos burial at the Libingan ng mga Bayani.
None of the reasons that have been advanced even remotely does justice, either to the horrors of the martial law experience or to the elaborate fraud the fake guerrilla leader of a fake guerrilla unit perpetrated on the Filipino people.
It will not do to forget or even to forgive the Marcoses for the brutality of their martial regime—because they have refused, until now, to ask for forgiveness or to admit the brute truth. It will not do to equate the situation of former defense secretary Angelo Reyes with that of Marcos—because the allegations against Reyes had not been proven, but the many charges against Marcos have been proven again and again, most recently by the symbolic turnover of token checks for thousands of human rights victims. It will not do to follow the 25th anniversary of the first people power revolution, the template for peaceful uprisings that came after, by honoring the man ousted by that revolution with a hero’s burial—because to do so is to spit on the sacrifice of the assassinated Ninoy Aquino and many other victims of the Marcos dictatorship, whose spilt blood led, inexorably, to EDSA.
Above all, it will not do to remember Marcos as a military hero—because his claims, and his many war medals, were as fake as his “adherence to democracy.”
There is no question that the Mt. Samat memorial pays much-deserved tribute to the “battling bastards” of Bataan. Unfortunately for our own sense of history, that same memorial, so closely identified with Marcos’ own political career, has served to cover Marcos’ questionable activity during World War II with the borrowed aura of real heroes. To bury Marcos at the Libingan ng mga Bayani is to make that outrageous borrowing a permanent scandal.
Roundup--summer theater workshops
Compiled by Walter Ang
Here's a round-up of some of the more established theater groups you can contact. Schedules and info are subject to change without prior notice. Contact the groups to ask for their full line-up of different classes.
• My Talent Place by Audie Gemora
Dates: March 28, 2011 onwards
Contact: 3590497; 5713485; 0922-5916060; 0927-3159994; 0922-8764772; avmytalent@yahoo.com
Website: www.mytalentco.multiply.com
Office and workshop venue: Eastwood City, Quezon City
• Repertory Philippines
Dates: April 4 to May 20, 2011
Contact: 5716926; 5714941; info@repertory.ph
Website: www.repertory.ph
Office: Ortigas Center, Pasig City. Enrollment can also be done at Onstage Theater, 2nd floor, Greenbelt 1 Mall, Ayala Center, Makati City during scheduled performances on Fridays, Saturdays, and Sundays.
Workshop venue(s): Burgundy Empire Tower, Ortigas Center, Pasig City; and Somerset Olympia Towers, Makati City
• Triumphant Peoples Evangelistic Theatre Society (Trumpets)
Dates: April 4-May 31, 2011
Contact: 6317252; 6362842; 3816635; 0917-8964034; playshoppers@gmail.com
Visit: www.trumpetsplayshop.com
Workshop venue(s): Podium Mall, Mandaluyong City; Bonifacio Global City, Taguig City; and Alabang Town Center, Muntinlupa City.
• Tanghalang Pilipino
Dates: April 5-9, 12-16, 26-30, 2011
Contact: 8323661; 8321125 loc. 1620 and 1621; tanghalanprod@yahoo.com
Office: Cultural Center of the Philippines, Pasay City
Workshop venue(s): Cultural Center of the Philippines, Pasay City; Bonifacio Global City, Taguig City; and Miriam College, Quezon City.
• 9Works Theatrical
Dates: April 11 to May 29, 2011
Contact: 0917-5545560; 5867105; 5575860; anna@9workstheatrical.com
Website: www.9workstheatrical.com
Office: Ortigas Center, Pasig City
Workshop venue: Rockwell Center, Makati City
• Philippine Educational Theater Association (Peta)
Dates: April 13-May 14, 2011
Contact: 7256244; 4100821; 0917-5769339; petatheater@gmail.com
Website: www.petatheater.com
Office and workshop venue: New Manila, Quezon City
• Gantimpala Theater Foundation
Dates: April 25 to May 28, 2011
Contact: 5280603; 5365860; 0921-5286308
Website: www.gantimpalatheater.multiply.com
Office and workshop venue: Rizal Park (Luneta), Manila City
• UP Department of Speech Communication and Theatre Arts
Dates: April 27-May 3, 2011
Contact: Jose Carlo G. de Pano/Ronnie Amuyot 9248589, 9243224; e-mail dscta50@gmail.com
• Dulaang UP
Dates: May 2-27, 2011
Contact: 9261349; 9818500 local 2449; 4337840
• Cebu City: Little Boy Productions Dates: May 2-20, 2011
Contact: 2549320; 4158058
• New Voice Company
Dates: No set schedules thus far, call to confirm
Contact: 8965497; 8966695; nvc@pldtdsl.net
Website: www.newvoicecompany.com
Office: Makati City
• Sipat Lawin Ensemble
Dates: No set schedules thus far, call to confirm
Contact: 0917-5008753; 9645969; sipatlawin.ensemble@gmail.com.
Website: sipatlawin.posterous.com
Workshop venue: the group can go to your venue
Here's a round-up of some of the more established theater groups you can contact. Schedules and info are subject to change without prior notice. Contact the groups to ask for their full line-up of different classes.
• My Talent Place by Audie Gemora
Dates: March 28, 2011 onwards
Contact: 3590497; 5713485; 0922-5916060; 0927-3159994; 0922-8764772; avmytalent@yahoo.com
Website: www.mytalentco.multiply.com
Office and workshop venue: Eastwood City, Quezon City
• Repertory Philippines
Dates: April 4 to May 20, 2011
Contact: 5716926; 5714941; info@repertory.ph
Website: www.repertory.ph
Office: Ortigas Center, Pasig City. Enrollment can also be done at Onstage Theater, 2nd floor, Greenbelt 1 Mall, Ayala Center, Makati City during scheduled performances on Fridays, Saturdays, and Sundays.
Workshop venue(s): Burgundy Empire Tower, Ortigas Center, Pasig City; and Somerset Olympia Towers, Makati City
• Triumphant Peoples Evangelistic Theatre Society (Trumpets)
Dates: April 4-May 31, 2011
Contact: 6317252; 6362842; 3816635; 0917-8964034; playshoppers@gmail.com
Visit: www.trumpetsplayshop.com
Workshop venue(s): Podium Mall, Mandaluyong City; Bonifacio Global City, Taguig City; and Alabang Town Center, Muntinlupa City.
• Tanghalang Pilipino
Dates: April 5-9, 12-16, 26-30, 2011
Contact: 8323661; 8321125 loc. 1620 and 1621; tanghalanprod@yahoo.com
Office: Cultural Center of the Philippines, Pasay City
Workshop venue(s): Cultural Center of the Philippines, Pasay City; Bonifacio Global City, Taguig City; and Miriam College, Quezon City.
• 9Works Theatrical
Dates: April 11 to May 29, 2011
Contact: 0917-5545560; 5867105; 5575860; anna@9workstheatrical.com
Website: www.9workstheatrical.com
Office: Ortigas Center, Pasig City
Workshop venue: Rockwell Center, Makati City
• Philippine Educational Theater Association (Peta)
Dates: April 13-May 14, 2011
Contact: 7256244; 4100821; 0917-5769339; petatheater@gmail.com
Website: www.petatheater.com
Office and workshop venue: New Manila, Quezon City
• Gantimpala Theater Foundation
Dates: April 25 to May 28, 2011
Contact: 5280603; 5365860; 0921-5286308
Website: www.gantimpalatheater.multiply.com
Office and workshop venue: Rizal Park (Luneta), Manila City
• UP Department of Speech Communication and Theatre Arts
Dates: April 27-May 3, 2011
Contact: Jose Carlo G. de Pano/Ronnie Amuyot 9248589, 9243224; e-mail dscta50@gmail.com
• Dulaang UP
Dates: May 2-27, 2011
Contact: 9261349; 9818500 local 2449; 4337840
• Cebu City: Little Boy Productions Dates: May 2-20, 2011
Contact: 2549320; 4158058
• New Voice Company
Dates: No set schedules thus far, call to confirm
Contact: 8965497; 8966695; nvc@pldtdsl.net
Website: www.newvoicecompany.com
Office: Makati City
• Sipat Lawin Ensemble
Dates: No set schedules thus far, call to confirm
Contact: 0917-5008753; 9645969; sipatlawin.ensemble@gmail.com.
Website: sipatlawin.posterous.com
Workshop venue: the group can go to your venue
Pinky Amador, Bill Atwood hold Master Class in Acting for professional actors
A Master Class in Acting for Professional Actors will be taught by one of the country’s leading stage, film and TV actresses, Pinky Amador. This master class will be under Repertory Philippines and co-taught by Bill Atwood, who has over 30 years' teaching experience in New York under renowned acting coach Uta Hagen herself, at the American Academy of Dramatic Arts and the Tisch School of the Arts.
Actors with experience in stage, television and film who wish to further hone their craft and proceed to their “next level” of performance as well as tackling other aspects of performance, such as vocal improvement, physicality and actor’s movement, audition techniques, choosing audition pieces, rehearsal and performance techniques--for all mediums, both for the local and international market--are invited to apply.
With the combined (local and trans-continental) experience and expertise of two of the most talented performers/coaches available in the Philippines today, students will be coached one-on-one on areas of performance they are “blocked” with or simply want to master/discover.
Actors with minimal experience may be asked to audition with either a song or a monologue (in English) of their choice. No more than 3 minutes and a CD with minus-one (for songs) are also required. Students will begin class with 30 minutes of movement, and culminate at the end of the workshop period with a showcase comprising of either their songs/monologues and a company movement piece.
“This year, it’s all about giving back, for me,” says Amador, who has had 24 years straight of non-stop work experience as an actress, singer, host, model and dancer both in the Philippines and England. She trained at the Bristol Old Vic Theatre School and was awarded 2 extensions of her grant by the British Council. Combining work in both the Philippines and the UK, Amador has appeared in over 70 plays and musicals, has had thousands of TV appearances in over 300 series, documentaries, game shows, specials, and musical guestings, and has made over 60 films. She is a two-time Aliw Awardee for Best Actress and has produced and directed documentaries. Amador is also the niece of Rep’s founder, Zeneida Amador.
Bill Atwood has almost 20 years of solid experience teaching both “Shakespeare for Kids” and “Cooking Up a Dance” (a modern dance workshop). Prior to that, he spent 10 years at the renowned American Academy of Dramatic Arts in New York, as an instructor of “Movement for Actors,” plus 6 years of hosting at the “Irvine Improv” and various comedy clubs in California and Michigan. Atwood trained in Acting with no less than Uta Hagen, Dramatic Writing with Leslie Lee at the Tisch School for the Arts, with Ana Sokolow in Modern Dance, and Claire Porter for “Laban” movement and Movement for Children. Bill is married to Filipina actress and restaurateur Kawie Manuel Atwood.
Classes will start on April 5, 2011 for 6 weeks (except for Holy Week) up until May 21, 2011. Sessions will be held every Tuesday and Thursday, 2-6 p.m., at Somerset Olympia Towers, 7912 Makati Avenue, Mezzanine Level, across from Swiss Inn, Makati City.
For inquiries, please call Repertory Philippines 5716296, 5214941 and look for Ayam.
Actors with experience in stage, television and film who wish to further hone their craft and proceed to their “next level” of performance as well as tackling other aspects of performance, such as vocal improvement, physicality and actor’s movement, audition techniques, choosing audition pieces, rehearsal and performance techniques--for all mediums, both for the local and international market--are invited to apply.
With the combined (local and trans-continental) experience and expertise of two of the most talented performers/coaches available in the Philippines today, students will be coached one-on-one on areas of performance they are “blocked” with or simply want to master/discover.
Actors with minimal experience may be asked to audition with either a song or a monologue (in English) of their choice. No more than 3 minutes and a CD with minus-one (for songs) are also required. Students will begin class with 30 minutes of movement, and culminate at the end of the workshop period with a showcase comprising of either their songs/monologues and a company movement piece.
“This year, it’s all about giving back, for me,” says Amador, who has had 24 years straight of non-stop work experience as an actress, singer, host, model and dancer both in the Philippines and England. She trained at the Bristol Old Vic Theatre School and was awarded 2 extensions of her grant by the British Council. Combining work in both the Philippines and the UK, Amador has appeared in over 70 plays and musicals, has had thousands of TV appearances in over 300 series, documentaries, game shows, specials, and musical guestings, and has made over 60 films. She is a two-time Aliw Awardee for Best Actress and has produced and directed documentaries. Amador is also the niece of Rep’s founder, Zeneida Amador.
Bill Atwood has almost 20 years of solid experience teaching both “Shakespeare for Kids” and “Cooking Up a Dance” (a modern dance workshop). Prior to that, he spent 10 years at the renowned American Academy of Dramatic Arts in New York, as an instructor of “Movement for Actors,” plus 6 years of hosting at the “Irvine Improv” and various comedy clubs in California and Michigan. Atwood trained in Acting with no less than Uta Hagen, Dramatic Writing with Leslie Lee at the Tisch School for the Arts, with Ana Sokolow in Modern Dance, and Claire Porter for “Laban” movement and Movement for Children. Bill is married to Filipina actress and restaurateur Kawie Manuel Atwood.
Classes will start on April 5, 2011 for 6 weeks (except for Holy Week) up until May 21, 2011. Sessions will be held every Tuesday and Thursday, 2-6 p.m., at Somerset Olympia Towers, 7912 Makati Avenue, Mezzanine Level, across from Swiss Inn, Makati City.
For inquiries, please call Repertory Philippines 5716296, 5214941 and look for Ayam.
Thursday, March 24, 2011
How to stage the classics
“My wife... will never buy anything without looking at the date on the package, which says ‘to be eaten before this date.’ If a classic is something from the past, to be honored because it’s from the past, it’s like eating a canned fish or something beyond the stop date. And the only way that a classic should be staged is because you’ve discovered, or you believe, that it is still alive.” -- Peter Brook
PLUS: A look at the legendary director in action, “an artist who has become really himself through his work”--
PLUS: A look at the legendary director in action, “an artist who has become really himself through his work”--
Summer workshop on 'Writing Lifestyle Stories'
Respected PR communications and special events consultant Joselito “Toots” Tolentino is holding a unique five-day workshop on “The Art of Writing Lifestyle Stories,” starting April 4, 2011.
The workshop is open to all high school and college students, and anyone who wants to discover or hone their talent for writing feature stories that cover the following subjects: Art and culture, Health and Wellness, Home and Interiors, Food and Restaurants, Fashion and Beauty, Travel, Family and Personalities.
Tolentino holds a BA Communications Arts degree from the University of Santo Tomas, plus masteral classes at the U.P. College of Mass Communications. Along with advertising stints in Account and Creative Management at McCann Erickson, J. Walter Thompson, REACH and AVIACOM, he has also written articles for various publications over the years--Philippine Daily Inquirer, Manila Bulletin, Business World, The Times Journal and other magazines. He was the contributing Fashion Editor of Sunday Times Magazine in the 80’s.
Tolentino also produces art exhibits in Manila and at the Philippine Center in New York to promote Filipino artists. From New York, he also brought to Manila the exhibit: “Imagine... The Art of John Lennon”. He has written extensively about the various theater productions he has seen on Broadway (New York), West End (London), Vancouver (Canada), Edinburgh (Scotland), Brighton and Bath (United Kingdom), Hong Kong, Singapore, Sydney and Melbourne (Australia).
He was the publicist of Saigon Company when “Miss Saigon” was produced in Manila. Recent PR/marketing credits include productions such as “Operalite,” “ La Boheme” and “Master Class” for Philippine Opera Company; “Rent” for 9 Works Theatrical; the Mall of Asia Centerstage rerun of “Orosman at Zafira”,for Dulaang UP; and “The 39 Steps” and the forthcoming “Shakespeare in Hollywood” for Repertory Philippines.
Schedule of classes: Monday and Wednesday, Tuesday and Thursday, and Saturday, for two hours each session (10 a.m.–12 p.m.; 2–4 pm). Workshop sessions start April 4, 2011.
For further details, call 0917-8604205 or e-mail tolentino_toots@yahoo.com.
The workshop is open to all high school and college students, and anyone who wants to discover or hone their talent for writing feature stories that cover the following subjects: Art and culture, Health and Wellness, Home and Interiors, Food and Restaurants, Fashion and Beauty, Travel, Family and Personalities.
Tolentino holds a BA Communications Arts degree from the University of Santo Tomas, plus masteral classes at the U.P. College of Mass Communications. Along with advertising stints in Account and Creative Management at McCann Erickson, J. Walter Thompson, REACH and AVIACOM, he has also written articles for various publications over the years--Philippine Daily Inquirer, Manila Bulletin, Business World, The Times Journal and other magazines. He was the contributing Fashion Editor of Sunday Times Magazine in the 80’s.
Tolentino also produces art exhibits in Manila and at the Philippine Center in New York to promote Filipino artists. From New York, he also brought to Manila the exhibit: “Imagine... The Art of John Lennon”. He has written extensively about the various theater productions he has seen on Broadway (New York), West End (London), Vancouver (Canada), Edinburgh (Scotland), Brighton and Bath (United Kingdom), Hong Kong, Singapore, Sydney and Melbourne (Australia).
He was the publicist of Saigon Company when “Miss Saigon” was produced in Manila. Recent PR/marketing credits include productions such as “Operalite,” “ La Boheme” and “Master Class” for Philippine Opera Company; “Rent” for 9 Works Theatrical; the Mall of Asia Centerstage rerun of “Orosman at Zafira”,for Dulaang UP; and “The 39 Steps” and the forthcoming “Shakespeare in Hollywood” for Repertory Philippines.
Schedule of classes: Monday and Wednesday, Tuesday and Thursday, and Saturday, for two hours each session (10 a.m.–12 p.m.; 2–4 pm). Workshop sessions start April 4, 2011.
For further details, call 0917-8604205 or e-mail tolentino_toots@yahoo.com.
Wednesday, March 23, 2011
Elizabeth Taylor, 'world's most beautiful woman,' RIP
Dame Elizabeth Taylor, one of the 20th Century's biggest movie stars, has died in Los Angeles at the age of 79.
The double Oscar-winning actress had a long history of ill health and was being treated for symptoms of congestive heart failure.
Dame Elizabeth's most famous films included National Velvet, Cleopatra and Who's Afraid of Virginia Woolf?
She was equally well-known for her glamour and film partnership with Richard Burton, one of seven husbands.
In her prime, she was arguably one of the world's greatest actresses and most beautiful women.
More here.
PLUS: That singular face, and those violet eyes, virtually made for the magic of movies (thanks, Arman!)--
And a tribute by Paul Newman that aired on the Turner Classic Movies channel, with scenes from Taylor's iconic films--
Tuesday, March 22, 2011
Cocoy Laurel, Cris Villonco et al sing songs from Simon's Way, a new original Filipino musical
Theater biggie Cocoy Laurel, absent from the local stage for quite some time now, is returning to the boards via a new original Filipino musical called Simon's Way, a “faith-based” production (for lack of a better description) that aims to harness the tropes of musical theater--interspersed with film, hence it's also being touted as a “cine-musical”--to pay tribute to that icon of the Bicolano faith, the Our Lady of Peñafrancia. The production's proceeds will then be used to help the poor parishes in the Archdiocese of Caceres in Naga City, where the inspiration for this musical had its roots.
This early, Simon's Way--an independent effort originating outside Manila--has managed a coup of sorts by bagging not only Laurel, one of local theater's biggest names (and illustrious exports, Laurel having played The Engineer in Miss Saigon-London at one point), but also other accomplished performers such as Cris Villonco, Jenine Desiderio, Jon Joven, Nicole Laurel-Asencio, Raymond Roldan (a Bicolano tenor--you should hear the guy's voice!), the Manila Symphony Orchestra conducted by Prof. Arturo Molina, and Fides Cuyugan-Asencio in a special cameo role.
Laurel, asked what made him accept the role, said that when he listened to the music (by tubong-Naga composer-lyricist-director Ferdinand Dimadura), it spoke to him. Also, he said he decided to offer his performances in the show as a prayer for his mother, eminent actress Celia Diaz-Laurel, who is set to undergo yet one more operation on her knees. He joined Villonco, Desiderio and Roldan recently in performing four songs from the musical for the press.
More from the press announcement:
“Simon's Way” is an original Filipino “cine-musical” with book, music, lyrics and direction by Ferdinand Dimadura, featuring the country’s top artists led by Cocoy Laurel, Cris Villonco, Jenine Desiderio, Jon Joven, Nicole Laurel-Asencio and the Manila Symphony Orchestra conducted by Prof. Arturo Molina. A member of the clergy, Fr. Fidel Bagayaua, is also part of the cast. Fides Cuyugan-Asencio appears in a special cameo role.
“Simon's Way” will have a one-night benefit gala on April 19, 2011, Tuesday, 8 p.m., at the Newport Performing Arts Theater, Resorts World Manila, Pasay City.
Called a “cine-musical” because it is interspersed with film, the musical is a tribute to the Our Lady of Peñafrancia, and the devotion she has inspired for generations among the Bicolano faithful. It tells the story of a Franciscan brother named Simon Vela who said he was chosen by the Virgin Mary to search for her missing image. For five years, Vela searched every mountain and cave in Western France only to find the missing statue in the mountain of the Peña de Francia near Salamanca, Spain in the year 1434. Almost four hundred years later, Father Miguel Cobarrubias would bring the devotion to Our Lady of Peñafrancia to Naga City.
Through the guidance and support of Leonardo Z. Legazpi, Archbishop of Caceres, “Simon's Way” hopes to further propagate and increase the devotion of Filipinos to Our Lady of Peñafrancia in honor of her 300th anniversary. The production also aims to raise funds to help poor parishes, their priests and respective barangays under the Archdiocese of Caceres.
“Simon's Way” will also feature Bicolano tenor Raymond Roldan together with violin prodigy Jelyn Oliva. Choral music will be performed by the internationally-awarded University of Northeastern Philippines Chorale under conductor Adrian Argete. Singing priest and composer Father Louan Jarcia will perform “Ave Maria,” while Gigi Velarde-David's choreography will be performed by the ACAT Dancers from University of Santa Isabel.
To help support this project, Resorts World Manila is offering a special Holy Week promotion that entitles one to a free ticket to “Kaos,” its one-of-a-kind musical spectacle, upon buying tickets to “Simon’s Way.” Ticket prices are as follows: P1,988 (Upper Balcony); P2,188 (Balcony); P2,888 (Deluxe); P3,688 (Premier); P3,888 (VIP).
Before its Manila gala, “Simon's Way” will have a special Palm Sunday promotional show at the Block, SM City North Edsa, on April 17, 2011, 4 p.m. Other dates of shows: March 24 (7 p.m.), March 25 (1:30 p.m. and 7 p.m.) and March 26 (1:30 p.m. and 6 p.m.) at the Universidad de Santa Isabel Auditorium, Naga City; March 28 (7 p.m.) at University of Northeastern Philippines Auditorium in Iriga City.
A special show sponsored by the City Government of Legaspi and Aquinas University will be held on May 14, 2011 (7 p.m.) at the Legaspi Astrodome.
The production team includes Ferdinand Dimadura (direction), Raymond Roldan (assistant direction), John Carl Denina (musical arrangement), Anson Peñaflor (orchestration), Adrian Argente (choral arrangement), Joy Rago (costume design), Gigi Velarde-David (choreography), Ruben Lee (cinematography), Manny Estrella (lighting design), Rollie De Leon (stage design), Jethro Joaquin (sound design), Dindin Daliva (production management), Boy Sanchez (stage management), Toots Tolentino (publicity) and Abong Gaw (Golden Touch Imaging for photography).
For tickets, inquiries and other information, call 7264422, 0916-4135108 (Cora), 0927-4730145 (Steve), 0906-5291517 (Christine), 0917-8728730 (Jake/Resorts World Manila) and 9088890 (RWM Tour Counter).
Visit www.simonswaythecinemusical.com, www.victor@cocoylaurel.com.ph, or Facebook victor@cocolaurel.com.
9 Works Theatrical holds Stage Camp, its summer theater workshop
The workshop, held in cooperation with The Rockwell Club, will run for six weeks at The Loft, Manansala Tower, Rockwell Center, Makati City, with a break during Holy Week. Classes begin April 11, with each class having a culminating showcase at the end of a six-week workshop and rehearsal period on either May 28 or 29.
Kiddie Camp will be conducted from 10 a.m.-12nn, M-W-F, for the first two weeks, and 10 a.m.-1 p.m. for the last four weeks. Teens’ Camp will be held from M-F, 1 p.m.-4 p.m., while Adults’ Camp will be from M-F, 630 p.m.-930 p.m.
The showcase will be held at the Carlos P. Romulo Auditorium in RCBC Plaza, Makati.
Adults’ Camp will be spearheaded by 9 Works Theatrical’s artistic director Robbie Guevara, while Teens’ Camp and Kiddie Camp will be taught by veteran stage actor Topper Fabregas (“A Midsummer Night’s Dream,” “The Sound of Music,” “Disney’s Aladdin Jr.”) and theater actor and musical director Onyl Torres (“The Joy Luck Club,” “I Love You Because,” “A Christmas Carol”), respectively.
For inquiries, call 5575860, 5867105, 0917-5545560. E-mail info@9workstheatrical.com or visit www.9workstheatrical.com for details.
Monday, March 21, 2011
At a coffeeshop, unexpected beauty
So we were at Starbucks in The Columns, Makati, decompressing after having virtually gone through the wringer--i.e., a date with Atlantis Productions' heart-wrenching Next to Normal in the afternoon (which is to say you have to see it!), and a hospital visit to a sick friend afterwards. It had been a long day, and we were drained.
I was just out of the restroom and going up to our second-floor table when I heard beautiful a capella singing. Who's that on the radio, I thought. Then I realized it was live music--the group of men and women around a table beside ours were the ones singing! They would do that for at least twice more during the evening--the musical moments always bringing a lull to our conversation as we tuned in to the soothing sounds instead.
The group, I found out, were members of a choral ensemble called A Cappella Manila. They were out relaxing, but singing apparently remained their main bonding ingredient and source of collective pleasure. And so they sang--and never had a half-empty coffeeshop felt cozier, more intimate. There was no way I'd leave without catching the group on video--along with McVie's moonwalking across the screen as the choir sang Man in the Mirror. Thank you, A Capella Manila, for the unexpected dose of beautiful music on a weary Saturday evening.
[Video taken with an HTC Desire HD--I was breaking it in and didn't know any better yet, so you could hear me ask in the first few seconds why the video looked blurry. A touch of the finger on the screen, and voila! Hi-def na!]
I was just out of the restroom and going up to our second-floor table when I heard beautiful a capella singing. Who's that on the radio, I thought. Then I realized it was live music--the group of men and women around a table beside ours were the ones singing! They would do that for at least twice more during the evening--the musical moments always bringing a lull to our conversation as we tuned in to the soothing sounds instead.
The group, I found out, were members of a choral ensemble called A Cappella Manila. They were out relaxing, but singing apparently remained their main bonding ingredient and source of collective pleasure. And so they sang--and never had a half-empty coffeeshop felt cozier, more intimate. There was no way I'd leave without catching the group on video--along with McVie's moonwalking across the screen as the choir sang Man in the Mirror. Thank you, A Capella Manila, for the unexpected dose of beautiful music on a weary Saturday evening.
[Video taken with an HTC Desire HD--I was breaking it in and didn't know any better yet, so you could hear me ask in the first few seconds why the video looked blurry. A touch of the finger on the screen, and voila! Hi-def na!]
Friday, March 18, 2011
Zaturnnah's last 2 shows tomorrow, March 19--plus, Pinky and the wayward prop
Kalila Aguilos plays Queen Femina at 3 p.m., while Pinky Amador steps into the role for the closing 8 p.m. show. Pinky, whose fierce and fab intergalactic queen (those super-crisp, crystal-clear lines in the Queen's English!) has played a large part in keeping the long-running show from tumbling into staleness, recounts a funny incident in her blog. From When your Props come Vack with a Vengeance:
Our run comprised of 16 shows, so I naturally had 8. On my 4rth show, I was determined to get the show down “perfect” in terms of dialogue, lyrics, choreography, timing, etc. One funny experience I had which had almost everyone in the scene cracking up, was in the climax of “Prepare to Meet Your Doom” wherein I threaten Zsa Zsa Zaturnah with a “Cold Wave Motion Gun” (hairdryer), which is handed to me offstage before I aim it at her temples. Alas, not checking the position of the dryer, when I finally aimed it at her, it was reversed, facing me!... And it happened to be the show where I had a friend taking photographs of my performance! So now, not only is the moment forever in my memory but in photographs as well, and now because of this blog: online! So much for a perfect show ;)
Read the rest of her entry--a peppy account of how this veteran performer prepared for the role, leaving nothing to chance so that “it wasn’t enough for me to perform 'well' but to get to that level to have that 'ease' in knowing a character so well, you can actually start experimenting,” as she put it. It paid off, apparently; her Queen Femina comes off as completely different from those of Kalila and the two other actresses before her--Agot Isidro and Melissa Reyes. Suarestellar, indeed.
[Photo by Joel Nuñez]
Zsa Zsa Zaturnnah's last two performances are this Saturday, March 19, 3 p.m. and 8 p.m.--the evening show a replacement of the March 5, 8 p.m. show previously cancelled. For tickets, call 8919999 or CCP Box Office 8323704; or group ticket buyers 0906-3000743, 0918-904418.
Our run comprised of 16 shows, so I naturally had 8. On my 4rth show, I was determined to get the show down “perfect” in terms of dialogue, lyrics, choreography, timing, etc. One funny experience I had which had almost everyone in the scene cracking up, was in the climax of “Prepare to Meet Your Doom” wherein I threaten Zsa Zsa Zaturnah with a “Cold Wave Motion Gun” (hairdryer), which is handed to me offstage before I aim it at her temples. Alas, not checking the position of the dryer, when I finally aimed it at her, it was reversed, facing me!... And it happened to be the show where I had a friend taking photographs of my performance! So now, not only is the moment forever in my memory but in photographs as well, and now because of this blog: online! So much for a perfect show ;)
Read the rest of her entry--a peppy account of how this veteran performer prepared for the role, leaving nothing to chance so that “it wasn’t enough for me to perform 'well' but to get to that level to have that 'ease' in knowing a character so well, you can actually start experimenting,” as she put it. It paid off, apparently; her Queen Femina comes off as completely different from those of Kalila and the two other actresses before her--Agot Isidro and Melissa Reyes. Suarestellar, indeed.
[Photo by Joel Nuñez]
Zsa Zsa Zaturnnah's last two performances are this Saturday, March 19, 3 p.m. and 8 p.m.--the evening show a replacement of the March 5, 8 p.m. show previously cancelled. For tickets, call 8919999 or CCP Box Office 8323704; or group ticket buyers 0906-3000743, 0918-904418.
Wednesday, March 16, 2011
Fabcast: Cougar Town!
Otherwise known as the episode where we discuss the perils, pleasures and practicalities of two men from different generations dating, and getting serious with, each other. The issue isn't an abstract one. Three of the Fabcasters are currently hitched to (much) younger partners; the other three, as far as I can tell (haha--as if!), ain't averse to the idea, either.
The powwow then had to have a mix of the youthful and the, uh, established, all to put in their two cents' worth on such topics as:
• What attracts younger men to older guys, and vice versa
• How do they navigate and come to terms with differences in temperament, preferences, experience, expectations, emotional stability
• Who pays the bills, and is that ever an issue
• When the kid's into playing Dota and the older guy is into “wealth management,” what constitutes middle ground
• “He's just a kid”--a defensible phrase?
The really interesting part: the younger participants give as good as they get with smart, impassioned opinions, which vindicates what I said at one point. Many young people nowadays, or at least those we are fortunate to end up friends with (sometimes more than that, but some of us do get luckier than the others--the bastards), are not the callow, distracted slackers their generation is quite often portrayed to be. They're thoughtful, impressively poised, sometimes wise beyond their years, and they have a lot to teach their supposed betters. Ahem, what's not to love?
But I'm making the podcast sound far more serious than it is. You should know us by now; here, join in the fun! Makisaya na sa Jollibee kiddie party--I'm kidding!
Part 1
Download this fabcast (right click and save)
Part 2
Download this fabcast (right click and save)
Part 3
Download this fabcast (right click and save)
PLUS: 120,000+ downloads! That's how far we've come with this podcast thing, which is really, at its core, nothing more than bonding time for us friends. Thank you, thank you, thank you--for listening, for laughing and learning with us, for meeting us offline and becoming our friends, for sending us your comments and letters, for the plain much-welcome company. Hansaya!
The powwow then had to have a mix of the youthful and the, uh, established, all to put in their two cents' worth on such topics as:
• What attracts younger men to older guys, and vice versa
• How do they navigate and come to terms with differences in temperament, preferences, experience, expectations, emotional stability
• Who pays the bills, and is that ever an issue
• When the kid's into playing Dota and the older guy is into “wealth management,” what constitutes middle ground
• “He's just a kid”--a defensible phrase?
The really interesting part: the younger participants give as good as they get with smart, impassioned opinions, which vindicates what I said at one point. Many young people nowadays, or at least those we are fortunate to end up friends with (sometimes more than that, but some of us do get luckier than the others--the bastards), are not the callow, distracted slackers their generation is quite often portrayed to be. They're thoughtful, impressively poised, sometimes wise beyond their years, and they have a lot to teach their supposed betters. Ahem, what's not to love?
But I'm making the podcast sound far more serious than it is. You should know us by now; here, join in the fun! Makisaya na sa Jollibee kiddie party--I'm kidding!
Part 1
Part 2
Part 3
PLUS: 120,000+ downloads! That's how far we've come with this podcast thing, which is really, at its core, nothing more than bonding time for us friends. Thank you, thank you, thank you--for listening, for laughing and learning with us, for meeting us offline and becoming our friends, for sending us your comments and letters, for the plain much-welcome company. Hansaya!
Rep's Shakespeare in Hollywood opens April 1
For anyone who wants some painless lessons in Shakespeare and some good laughs, catch “Shakespeare in Hollywood,” the latest offering of Repertory Philippines.
Winner of the Helen Hayes Award for Best New Play (2004), “Shakespeare in Hollywood” is Ken Ludwig's comedy tale set in 1930’s Hollywood about the making of the Warner Brothers 1935 movie version of Shakespeare's “A Midsummer Night's Dream”--but served with a twist!
The “real” Oberon and Puck from Shakespeare’s day have taken a wrong turn in their time travel and have landed right on the sound stage of a Burbank lot, just before shooting begins. As luck would have it, Victor Jory, who was to play Oberon, walks off the picture and Mickey Rooney, who is to play Puck, has broken his leg. Max Reinhardt is ecstatic to have two wonderful, real Shakespearean actors.
What follows is a farce that involves the likes of Will Hayes, Joe E. Brown, Jimmy Cagney, Dick Powell, Louella Parsons, Olivia De Havilland, the bimbo Lydia and the Warner brothers.
Jaime Del Mundo directs the play, which stars Joy Virata, Miguel Faustmann, Cris Villonco, Caissa Borromeo, Hans Eckstein, Red Concepcion, Robie Zialcita, Arnel Carrion, Reuben Uy, Topper Fabregas, Rem Zamora and Nic Campos.
“Shakespeare in Hollywood” runs April 1- 17, 2011, with shows on Fridays and Saturdays at 8 p.m. and matinee shows on Saturdays and Sundays at 3:30 p.m, at Onstage, Greenbelt 1, Makati City. It is presented by special arrangement with Samuel French Limited.
Comprising the artistic and creative team are Baby Barredo (artistic director), Menchu Lauchengco-Yulo (associate artistic director), Jaime del Mundo (director), John Batalla (lighting designer), Lex Marcos (set designer), TJ Ramos (sound designer) and Raven Ong (costume designer).
For tickets, inquiries and other information, call Repertory Philippines 5716926 and 5714941, or e-mail info@repertory.ph. Tickets are also available at Ticketworld 8919999 or www.ticketworld.com.ph.
Visit www.repertory.ph, subscribe to youtube.com/repertoryphils, and add “Rep Phils” in Facebook.
Winner of the Helen Hayes Award for Best New Play (2004), “Shakespeare in Hollywood” is Ken Ludwig's comedy tale set in 1930’s Hollywood about the making of the Warner Brothers 1935 movie version of Shakespeare's “A Midsummer Night's Dream”--but served with a twist!
The “real” Oberon and Puck from Shakespeare’s day have taken a wrong turn in their time travel and have landed right on the sound stage of a Burbank lot, just before shooting begins. As luck would have it, Victor Jory, who was to play Oberon, walks off the picture and Mickey Rooney, who is to play Puck, has broken his leg. Max Reinhardt is ecstatic to have two wonderful, real Shakespearean actors.
What follows is a farce that involves the likes of Will Hayes, Joe E. Brown, Jimmy Cagney, Dick Powell, Louella Parsons, Olivia De Havilland, the bimbo Lydia and the Warner brothers.
Jaime Del Mundo directs the play, which stars Joy Virata, Miguel Faustmann, Cris Villonco, Caissa Borromeo, Hans Eckstein, Red Concepcion, Robie Zialcita, Arnel Carrion, Reuben Uy, Topper Fabregas, Rem Zamora and Nic Campos.
“Shakespeare in Hollywood” runs April 1- 17, 2011, with shows on Fridays and Saturdays at 8 p.m. and matinee shows on Saturdays and Sundays at 3:30 p.m, at Onstage, Greenbelt 1, Makati City. It is presented by special arrangement with Samuel French Limited.
Comprising the artistic and creative team are Baby Barredo (artistic director), Menchu Lauchengco-Yulo (associate artistic director), Jaime del Mundo (director), John Batalla (lighting designer), Lex Marcos (set designer), TJ Ramos (sound designer) and Raven Ong (costume designer).
For tickets, inquiries and other information, call Repertory Philippines 5716926 and 5714941, or e-mail info@repertory.ph. Tickets are also available at Ticketworld 8919999 or www.ticketworld.com.ph.
Visit www.repertory.ph, subscribe to youtube.com/repertoryphils, and add “Rep Phils” in Facebook.
Tuesday, March 15, 2011
Take it from Next to Normal: 'When our long night is done, there will be light!'
A full review is something I owe the Inquirer first, so, in the meantime, I'll let my tweet yesterday speak for itself: rushd out of d theatr after 'next2normal'--wept like crazy, i must've lookd hideous. what a musical. sterling work from menchu, jett et al.
At the end of Next to Normal, after nearly two-and-a-half hours of raw and riveting musical theater, the show ends with a song that's about the characters acknowledging their complicated destinies, and from there trying to move on. Some ghosts are never gone, but we go on, we still go on, as one line goes. That musical valedictory provides a soul-stirring end note to the whole proceedings, not least because, at last, all six characters in the musical are together, harmonizing on a powerful, cathartic statement of hope. The song is called Light.
That number, thankfully, is preserved in recording--in lead star Menchu Lauchengco Yulo's seven-track CD lite that's exclusively available at the front of house during every performance, packaged along with the souvenir program (at P400). The record contains two songs from Next to Normal--Light and the solo piece I Miss the Mountains; the five others are from shows Menchu had also topbilled in Manila over the years--Loving You/Children Will Listen (from Passion and Into the Woods); Something Good (from The Sound of Music); Come to Me (from Les Miserables); Buenos Aires (from Evita--a number, truthfully, whose bossa-nova rearrangement I don't get); and a resplendent Meadowlark (from The Baker's Wife)--the definitive track for me, because it's practically a master class in musical storytelling, Menchu making every word, every phrase, even the pacing, count.
But what makes Light a must-listen track in its own right is the participation of the other Next to Normal cast members. Cast recordings are rare in our part of the world, whether for original Filipino musicals or Broadway imports, but here's this CD that offers us the opportunity to hear (in order of appearance in the audio) Bea Garcia, Jett Pangan, Menchu, Jake Macapagal and Felix Rivera, with Markki Stroem blending in with them somewhere in the piece, collectively belting out their characters' new-found sense of clarity and strength: The price of love is loss, but still we pay, we love anyway... we'll live, you'll see!
Here, listen:
How does the Next to Normal-Manila cast compare to the celebrated original Broadway cast, at least in terms of Light? That's another benefit of Menchu's CD thoughtfully including this track; now we can listen to both versions and love them equally without distinction, or decide which one speaks with more truth, empathy or plain musicality to us. Here, from the Broadway cast recording, featuring Alice Ripley, J. Robert Spencer, Jennifer Damiano, Aaron Tveit, Adam Chanler-Berat and Louis Hobson:
“Next to Normal” runs until March 27, 2011 at the Carlos P. Romulo Auditorium, RCBC Plaza, Makati. For tickets, call Atlantis Productions 8927078 or 8401187, or Ticketworld 8919999.
At the end of Next to Normal, after nearly two-and-a-half hours of raw and riveting musical theater, the show ends with a song that's about the characters acknowledging their complicated destinies, and from there trying to move on. Some ghosts are never gone, but we go on, we still go on, as one line goes. That musical valedictory provides a soul-stirring end note to the whole proceedings, not least because, at last, all six characters in the musical are together, harmonizing on a powerful, cathartic statement of hope. The song is called Light.
That number, thankfully, is preserved in recording--in lead star Menchu Lauchengco Yulo's seven-track CD lite that's exclusively available at the front of house during every performance, packaged along with the souvenir program (at P400). The record contains two songs from Next to Normal--Light and the solo piece I Miss the Mountains; the five others are from shows Menchu had also topbilled in Manila over the years--Loving You/Children Will Listen (from Passion and Into the Woods); Something Good (from The Sound of Music); Come to Me (from Les Miserables); Buenos Aires (from Evita--a number, truthfully, whose bossa-nova rearrangement I don't get); and a resplendent Meadowlark (from The Baker's Wife)--the definitive track for me, because it's practically a master class in musical storytelling, Menchu making every word, every phrase, even the pacing, count.
But what makes Light a must-listen track in its own right is the participation of the other Next to Normal cast members. Cast recordings are rare in our part of the world, whether for original Filipino musicals or Broadway imports, but here's this CD that offers us the opportunity to hear (in order of appearance in the audio) Bea Garcia, Jett Pangan, Menchu, Jake Macapagal and Felix Rivera, with Markki Stroem blending in with them somewhere in the piece, collectively belting out their characters' new-found sense of clarity and strength: The price of love is loss, but still we pay, we love anyway... we'll live, you'll see!
Here, listen:
How does the Next to Normal-Manila cast compare to the celebrated original Broadway cast, at least in terms of Light? That's another benefit of Menchu's CD thoughtfully including this track; now we can listen to both versions and love them equally without distinction, or decide which one speaks with more truth, empathy or plain musicality to us. Here, from the Broadway cast recording, featuring Alice Ripley, J. Robert Spencer, Jennifer Damiano, Aaron Tveit, Adam Chanler-Berat and Louis Hobson:
“Next to Normal” runs until March 27, 2011 at the Carlos P. Romulo Auditorium, RCBC Plaza, Makati. For tickets, call Atlantis Productions 8927078 or 8401187, or Ticketworld 8919999.
Monday, March 14, 2011
From plain bookshelf to cozy reading room
Remember what I said about my “offsite” bookshelf here? At night, lit only with a lamp bought from Regalong Pambahay, the space looks, well, fetching. I've a photo somewhere in my PC of [Allan and Ken's] dog Marsha lounging on one of the chairs, my mini-library washed with soft light and looking distinguished in the background, but for the life of me I can't find the pic.
Good thing Allan and Ken, in whose house I'm renting the space for this reading nook, managed to retrieve the pictures (below). Lovely, eh? The handsome-looking restored vintage chairs, by the way, are for sale. Holler if you're interested. The artwork (argh, forgot the artist's name!), still in protective plastic at the time these photos were taken, was a gift, so it'll stay, along with the books.
Good thing Allan and Ken, in whose house I'm renting the space for this reading nook, managed to retrieve the pictures (below). Lovely, eh? The handsome-looking restored vintage chairs, by the way, are for sale. Holler if you're interested. The artwork (argh, forgot the artist's name!), still in protective plastic at the time these photos were taken, was a gift, so it'll stay, along with the books.
Stages to mount The Light in the Piazza this July, starring Karylle and NY actor Stephen Mark Lukas
The musical “The Light in the Piazza,” which premiered almost six years ago on Broadway, is one of the most celebrated musicals in recent history, having reaped numerous awards and glowing reviews from critics.
This July 2011, Stages is proud to bring “The Light in the Piazza” to Manila. Singer-actress-TV host Karylle will play the challenging role of Clara Johnson, the pretty, innocent American tourist who falls in love with the dashing Italian Fabrizzio, against the strong objections of her mother Margaret Johnson.
“The Light in the Piazza,” written by Adam Guettel, grandson of broadway icon Richard Rodgers of Rodgers and Hammerstein fame (“Oklahoma,” “Carousel,” “South Pacific,” “The King and I” and “Sound of Music”), has some of the best written songs for the stage, including the love tune “Say It Somehow,” which, according to “Glee’s” Lea Michele, is “by far the most romantic Broadway song.”
This proves the appeal of the show to both the older and younger audiences. In fact, “Glee’s” Matthew Morrison was the first actor to play the role of Fabrizzio.
In the Manila staging, the production hired one of the top casting agencies in New York, Judy Henderson & Associates Casting, to find the ideal Fabrizzio. In the said auditions, 30 talented hunks tried out for the opportunity to play the plum role in Manila.
“'The Light in the Piazza' signals the return of grand musicals like West Side Story,” says producer Audie Gemora. “This will also showcase once more Karylle’s depth as an actress and performer, which everyone had seen in her portrayal of Maria in West Side Story two years ago.”
Along with Guettel's music, “The Light in the Piazza” has a book by Craig Lucas based on ElizaBeth Spencer's novella of the same title.
For interested buyers and inquiries, please contact Stages 02-8181111 loc. 225.
PLUS: (Courtesy of Oliver Oliveros of BroadwayWorld.com/Philippines)--
New York, March 11, 2011--Philippine show biz royalty Karylle Tatlonghari, who will essay the role of Clara Johnson in Stages Production Specialists Inc.'s Philippine premiere of Broadway musical “The Light in the Piazza,” has found a new leading man in New York University Tisch School of the Arts alumnus Stephen Mark Lukas. He auditioned for the role of young Italian Fabrizio Naccarelli in N.Y.
Matthew Morrison and Aaron Lazar previously played the romantic lead in the Broadway production.
“Aaron Lazar and I have the same agent, Robert Atterman. And Aaron is someone I've always looked up to. It'd be great to be able to play the role of Fabrizio. I've never been to Manila. This is an incredible opportunity for me,” said Lukas.
Stages Productions had been auditioning actors in Manila for the role of Fabrizio since last year, but ended up auditioning in Manhattan with American casting agent Judy Henderson.
“Casting agents in Manila had offered very limited choices for leading men in local theater. So I opted to get a Broadway actor instead. Stephen has a beautiful tenor voice. He's a handsome and strong actor, too,” said Stages Productions president Audie Gemora.
Lukas' recent theater credits include the second national tour of “Little Women” (as Laurie), Ogunquit Playhouse's production of “Hello, Dolly!,” Summer Lyric Theater's “Oklahoma!” and Seacost Repertory Theater's “Grease” (Danny Zuko).
Stages Productions' “The Light in the Piazza” will open at Meralco Theater in Ortigas Center on July 8. Jaime del Mundo is director. Joey Mendoza is set designer.
“The Light in the Piazza,” written by Adam Guettel, grandson of broadway icon Richard Rodgers of Rodgers and Hammerstein fame (“Oklahoma,” “Carousel,” “South Pacific,” “The King and I” and “Sound of Music”), has some of the best written songs for the stage, including the love tune “Say It Somehow,” which, according to “Glee’s” Lea Michele, is “by far the most romantic Broadway song.”
This proves the appeal of the show to both the older and younger audiences. In fact, “Glee’s” Matthew Morrison was the first actor to play the role of Fabrizzio.
In the Manila staging, the production hired one of the top casting agencies in New York, Judy Henderson & Associates Casting, to find the ideal Fabrizzio. In the said auditions, 30 talented hunks tried out for the opportunity to play the plum role in Manila.
“'The Light in the Piazza' signals the return of grand musicals like West Side Story,” says producer Audie Gemora. “This will also showcase once more Karylle’s depth as an actress and performer, which everyone had seen in her portrayal of Maria in West Side Story two years ago.”
Along with Guettel's music, “The Light in the Piazza” has a book by Craig Lucas based on ElizaBeth Spencer's novella of the same title.
For interested buyers and inquiries, please contact Stages 02-8181111 loc. 225.
PLUS: (Courtesy of Oliver Oliveros of BroadwayWorld.com/Philippines)--
Matthew Morrison and Aaron Lazar previously played the romantic lead in the Broadway production.
“Aaron Lazar and I have the same agent, Robert Atterman. And Aaron is someone I've always looked up to. It'd be great to be able to play the role of Fabrizio. I've never been to Manila. This is an incredible opportunity for me,” said Lukas.
Stages Productions had been auditioning actors in Manila for the role of Fabrizio since last year, but ended up auditioning in Manhattan with American casting agent Judy Henderson.
“Casting agents in Manila had offered very limited choices for leading men in local theater. So I opted to get a Broadway actor instead. Stephen has a beautiful tenor voice. He's a handsome and strong actor, too,” said Stages Productions president Audie Gemora.
Lukas' recent theater credits include the second national tour of “Little Women” (as Laurie), Ogunquit Playhouse's production of “Hello, Dolly!,” Summer Lyric Theater's “Oklahoma!” and Seacost Repertory Theater's “Grease” (Danny Zuko).
Stages Productions' “The Light in the Piazza” will open at Meralco Theater in Ortigas Center on July 8. Jaime del Mundo is director. Joey Mendoza is set designer.
Cirque de Soleil comes to Manila June 22-July 8
For the first time in its history, Cirque du Soleil will visit Manila with its live touring production “Varekai,” premiering June 22, 2011 for a limited engagement under the blue-and-yellow Grand Chapiteau (Big Top) to be built at the Luneta, across Quirino Grandstand.
Tickets are now on sale through the online box office at www.hoopla.ph or www.cirquedusoleil.com. For inquiries, call tel. no. 7750939, 8810947, 0919-4508125 and 0917-4436463.
The word “Varekai” (pronounced ver·ay·’kie) means “wherever” in the Romany language of the gypsies, the universal wanderers. Written and directed by Dominic Champagne, this production pays tribute to the nomadic soul and to the spirit and art of the circus tradition.
“Varekai” emerges from an explosive fusion of drama and acrobatics, in stunning displays of skill and power set against innovative music and sets, interwoven with vivid choreography that speaks to all in the universal language of movement. The pendulum of time sweeps backward, paying tribute to the ancient and rare circus traditions of Icarian games, water meteors and Georgian dance. “Varekai” then catapults to the future with revolutionary twists on such acts as Russian swings, body skating and triple trapeze.
“Varekai” introduces an international cast of more than 50 artists representing several nationalities: Argentina, Australia, Azerbaijan, Belarus, Brazil, Canada, China, France, Georgia, Germany, Hungary, Italy, Kazakhstan, Mexico, New Zealand, Russia, Serbia, Spain, South Africa, Sweden and Ukraine.
From a group of 20 street performers at its beginnings in 1984, Cirque du Soleil is now a major Quebéc-based organization providing high-quality artistic entertainment worldwide with some 5,000 employees, including more than 1,200 artists from close to 50 different countries.
Cirque du Soleil has brought wonder and delight to close to 100 million spectators in 300 cities on five continents. In 2010, Cirque du Soleil will simultaneously present 21 shows throughout the world. The company has received such prestigious awards as the Emmy, Drama Desk, Bambi, ACE, Gémeaux, Félix, and Rose d’Or de Montreux. Cirque du Soleil International Headquarters are in Montreal, Canada.
Hoopla Inc. is the local promoter of Cirque du Soleil. It is the first company to bring Cirque du Soleil to the Philippines.
Manila Hotel is “Varekai's” presenting sponsor. This will serve as its launching event in a series of build-up activities for the hotel's forthcoming 100th anniversary celebration culminating in October 2012.
Performance schedule
• Wednesday, 22 Jun 11, 7:30 pm
• Thursday, 23 Jun 11, 7:30 pm
• Friday, 24 Jun 11, 3:30 pm / 7:30 pm
• Saturday, 25 Jun 11, 3:30 pm / 7:30 pm
• Sunday, 26 Jun 11, 1 pm / 5 pm
• Monday, 27 Jun 11, no show
• Tuesday, 28 Jun 11, 7:30 pm
• Wednesday, 29 Jun 11, 7:30 pm
• Thursday, 30 Jun 11, 7:30 pm
• Friday, 1 Jul 11, 7:30 pm
• Saturday, 2 Jul 11, 3:30 pm / 7:30 pm
• Sunday, 3 Jul 11, 1 pm / 5 pm
• Monday, 4 Jul 11, no show
• Tuesday, 5 Jul 11, 7:30 pm
• Wednesday, 6 Jul 11, 7:30 pm
• Thursday, 7 Jul 11, 7:30 pm
• Friday, 8 Jul 11, 7:30 pm
[Photo 2 by Recycle Bin of a Middle Child]
Wednesday, March 09, 2011
How the urinal becomes art
Art is a part of life, but in order to be art it has to create for itself a separate zone... A urinal is not an art object as long as it is carrying out its essential function. To make it art we detach it from the plumbing, tip it on its end and set it on a plinth. The beholder then has to entertain a galaxy of new and unfamiliar thoughts about the object, redefining it and herself in relation to it. The original object, which Marcel Duchamp called Fountain, signing it R Mutt, was rejected by the Society of Independent Artists at whose New York gallery it was supposed to be exhibited in 1917 because, they said, it was not art. In 2004, 500 British “art experts” selected it as “the most influential artwork of the 20th century”.
-- Germaine Greer, “Now please pay attention everybody. I'm about to tell you what art is,” in The Guardian
Tuesday, March 08, 2011
The Stella Adler Studio of Acting partners with Tanghalang Pilipino
The Stella Adler Studio of Acting is a legendary acting school based in New York City specializing in education services, namely, providing classes, workshops, and seminars in the field of acting and theatrical production. It is a nonprofit organization, which trains over 500 actors annually. The Studio also presents lectures, poetry readings, concerts, theater and dance performances, and an annual arts festival.
The workshop in the Philippines is taught by Ron Burrus, at Tanghalang Pilipino, one of the country's most prominent theater companies. Tanghalang Pilipino was founded in 1987 as the resident theater company of the Cultural Center of the Philippines (CCP). It aims to promote Philippine theater that is rooted in centuries-old Filipino culture and history while being responsive to evolving contemporary society.
The workshop was conceptualized by Renante Bustamante, an alumnus of the Stella Adler Studio of Acting’s Evening Conservatory.
“The Stella Adler Studio of Acting has served actors from our location in New York for over sixty years. In that time Master Teachers from all over the world, like Yoshi Oida (France/Japan), have inspired us and diversified our curriculum,” said Tom Oppenheim, Director of the Stella Adler Studio of Acting. “Now, we are taking the principles of the technique developed by Stella Adler around the world. Theater artists in Europe, Mexico, India, Asia and beyond will have access to the same teachers and training as the actors who study with us in New York. In today’s global economy this work is vital.”
Mr. Burrus is the greatest living exponent of the Stella Adler Technique. He spent many years studying and teaching alongside Ms. Adler in New York City. He has extensive theater directing credits including “The Three Sisters” and “You Can't Take It With You” at the Circle in the Square, “The Brick and the Rose” at New York University and “The White Whore” and “The Bit Player” for the Cubiculo Theatre.
Since its founding in 1949, The Stella Adler Studio of Acting School in New York has trained thousands of actors many of whom have gone on to important theater and film careers. The Studio’s mission is to create an environment with the purpose of nurturing theatre artists who value humanity, their own and others, as their first and most precious priority while providing art and education to the greater community.
To learn more about TP's partnership with the Stella Adler Studio of Acting, call Tanghalang Pilipino at 832-3661 or e-mail us at tanghalanprod@yahoo.com.
Gantimpala Theater holds summer drama workshop
Tony S. Espejo, artistic director of Gantimpala Theater, announces the opening of its 34th Summer Drama Workshop, which begins April 25, 2011.
Within 20 sessions plus a culminating recital on May 28, 2011, workshoppers will learn basic acting and acting for musical theater.
In basic acting, participants will learn practical application of stage acting with lectures and actual exercises on concentration, spontaneity, improvisation, confidence, body and voice preparation, eight basic efforts, characterization and script analysis.
The acting for musical theater teaches creative drama, music, voice and dance exercises that will help participants perform in a musical production.
Gantimpala Theater was one of the original artistic companies of the Cultural Center of the Philippines. During its more than two-decade residency at the CCP, it produced “untried and untested” plays that were winners of the CCP Playwriting Contest. These plays delighted the public, were the talk of town, earned considerably at the box-office, received critical acclaim and became the benchmark of excellent Filipino theater. Producing these plays was considered valuable to the development and enrichment of Philippine dramaturgy.
After the EDSA Revolution, Gantimpala became a self-sustaining theater company with a whole year season of the Four Classics--“Kanser,” “El Filibusterismo,” “Ibong Adarna” and “Florante at Laura”--along with the National Artist Production Series, original Filipino children’s musicals and contemporary English plays.
Espejo says, “What I found most rewarding about our annual summer workshop is witnessing the process of transformation happening to the workshoppers. From shy and inhibited young boys and girls to one who can deliver a punch line, sing a tune, work out dance steps. They are initially strangers who become friends in such a short time, and their creative juices seem to be coming from a bottomless well. I sincerely hope we have instilled a love and respect for theater with them.”
Main facilitator is award-winning actor and singer Roeder Camañag, with guest lecturers. Workshop classes are every Monday, Wednesday and Friday, 1-5 p.m. It is open for teens and young adults.
Tuition fee is P5,000. Interested workshoppers must bring a close-up photo (2x2). Enrollment begins March 14 (Monday).
Gantimpala Theater is located at the 2nd Floor, Open Air Auditorium Building, located inside the Rizal Park. For more information, call 5280603, 5365860 or text/call 0921-5286308. Visit www.gantimpalatheater.multiply.com or www.facebook.com/gantimpala.
[Photo: Roeder Camañag (center) with Gantimpala Theater's Summer Workshoppers Batch 2010]
Within 20 sessions plus a culminating recital on May 28, 2011, workshoppers will learn basic acting and acting for musical theater.
In basic acting, participants will learn practical application of stage acting with lectures and actual exercises on concentration, spontaneity, improvisation, confidence, body and voice preparation, eight basic efforts, characterization and script analysis.
The acting for musical theater teaches creative drama, music, voice and dance exercises that will help participants perform in a musical production.
Gantimpala Theater was one of the original artistic companies of the Cultural Center of the Philippines. During its more than two-decade residency at the CCP, it produced “untried and untested” plays that were winners of the CCP Playwriting Contest. These plays delighted the public, were the talk of town, earned considerably at the box-office, received critical acclaim and became the benchmark of excellent Filipino theater. Producing these plays was considered valuable to the development and enrichment of Philippine dramaturgy.
After the EDSA Revolution, Gantimpala became a self-sustaining theater company with a whole year season of the Four Classics--“Kanser,” “El Filibusterismo,” “Ibong Adarna” and “Florante at Laura”--along with the National Artist Production Series, original Filipino children’s musicals and contemporary English plays.
Espejo says, “What I found most rewarding about our annual summer workshop is witnessing the process of transformation happening to the workshoppers. From shy and inhibited young boys and girls to one who can deliver a punch line, sing a tune, work out dance steps. They are initially strangers who become friends in such a short time, and their creative juices seem to be coming from a bottomless well. I sincerely hope we have instilled a love and respect for theater with them.”
Main facilitator is award-winning actor and singer Roeder Camañag, with guest lecturers. Workshop classes are every Monday, Wednesday and Friday, 1-5 p.m. It is open for teens and young adults.
Tuition fee is P5,000. Interested workshoppers must bring a close-up photo (2x2). Enrollment begins March 14 (Monday).
Gantimpala Theater is located at the 2nd Floor, Open Air Auditorium Building, located inside the Rizal Park. For more information, call 5280603, 5365860 or text/call 0921-5286308. Visit www.gantimpalatheater.multiply.com or www.facebook.com/gantimpala.
[Photo: Roeder Camañag (center) with Gantimpala Theater's Summer Workshoppers Batch 2010]
Monday, March 07, 2011
My bookshelf
The inspiration: Jessica Zafra's post on bookshelves here. This is my (expanded) bookshelf--expanded because, when the original ones in our house (say, this one) could no longer hold all my books, I looked for extra space somewhere else. When my friends Allan and Ken (he designed the kick-ass header above) moved to a bigger unit which had a good-sized maid's quarters they weren't going to use, I decided to rent the space (for a minimum fee--what are friends are for, ika nga) and make it my extended library-cum-bodega. Some custom shelves later and this is how it looks.
No, scratch that--the room looks much better off-camera. Allan and Ken love unearthing vintage chairs from the nearby Bangkal furniture stores and re-upholstering them. Two of the pieces are now in my room. At night, lit only with a lamp bought from Regalong Pambahay, the space looks, well, fetching. I've a photo somewhere in my PC of their dog Marsha lounging on one of the chairs, my mini-library washed with soft light and looking distinguished in the background, but for the life of me I can't find the pic. This one should do then.
Unlike my home shelves which carry a crazy variety of titles, my offsite library, if you will, hosts mostly non-fiction, anthologies and theater/arts books. I repair to this room for my research--or just to play with Marsha, who loves dozing off on my lap, the spoiled gurl.
By the way, something totally unrelated--our new Fabcaster friend Alephnats has good advice for everyone: Date a guy who reads, he says. Ahem, can't say I disagree.
Introducing the Opera Belles!
Three classically trained young singers have joined forces and voices to form the country’s first young female pop opera group.
The Opera Belles, composed of Allison Tanner, Lara Maigue and Jam Valdes, combine contemporary pop with the artistry of opera in their self-titled debut album under Sony Music, which was launched recently.
In their debut CD, the Opera Belles perform some of the current crop of pop hits with a classical twist to create a unique sound. These include their versions of “Love Story” (Taylor Swift), “The Only Exception” (Paramore), “Breathless” (The Corrs), “Heaven” (Bryan Adams), “Sleeps With Butterflies” (Tori Amos), “Like A Prayer” (Madonna), “Only Hope” (Mandy Moore), “Burn” (Tina Arena), Officially Missing You” (Tamia), “I Turn To You” (Christina Aguilera) and “Sundo” (Imago).
“The songs were uniquely interpreted with rhythmic changes and opera overtures, making the sound totally new to the ear,” says Allison.
The group was formed by the Philippine Opera Company and each member underwent auditions and rigid training. In 2010, they were signed up by Sony Music.
Allison started singing when she was 8 years old and was trained at the University of the Philippines Extension Program where she was introduced to opera and classical music. She is currently a sophomore Pharmacy student at Centro Escolar University. She describes recording the album as “like a newborn--so many bright new learning--theoretically, socially, emotionally and spiritually.”
Jam took voice lessons at age 7 but it was not classical training. Her musical skills were honed joining glee clubs during high school, and her confidence was boosted when she joined Repertory Philippines’ summer workshops for 7 years. This DLSU Industrial Engineering major started classical training a year ago under the Philippine Opera Company. She enjoys sports, dancing, acting and joining beauty pageants.
Lara studies Music Education at the University of the Philippines. Both her parents are musicians/music professors. Her mother, also a classical singer, being her first voice teacher. Lara started having formal lessons during her second year in high school. Her musical influences include Charlotte Church, Sarah Brightman, Andrew Lloyd Webber, Renee Olstead and Michael Buble.
“It’s such a dream come true. As a kid, I’ve always wanted an album and specifically under Sony. It’s truly an honor to finally be part of this prestigious label,” says Lara.
The debut CD is now available in record stores, under Sony Music.
PLUS: The belles' first official music video, where Taylor Swift's Love Story takes on ethereal airs--
Summer theater workshops in Cebu
Now on its sixth consecutive year, Little Boy Productions brings back its popular Summer Theater Workshops, now on its sixth consecutive year, from May 2-20 at 3/F, Manros Plaza Building, across Fooda, on Mango Avenue, Cebu City.
There will be three classes. “Theater for Kids,” for participants 4-6 years old, will be held from 9 to 10:15 a.m. “Children's Theater,” for 7-10 years old, will be held from 10:30 to 12 nn. “Musical Theater for Teens,” for participants 11 years old and above, will be held in the afternoon from 1 to 3:30 p.m.
The classes are designed to teach voice, dance and acting skills, give participants the experience of performing in a real theater, give them a sense of accomplishment, build their discipline, and, most of all, let them have fun this summer.
The classes will be taught by a group of professional actors and teachers from Manila’s leading theater companies. They include Jill Pena, a BFA Theater Arts graduate from Ateneo de Manila University, who also played the lead in Disney’s “Cinderella” for Repertory Philippines.
She is joined by Reb Atadero, who played one of the leads in “Altar Boyz,” also for Repertory Philippines, and Acey Aguilar, who played Zelim in the critically-acclaimed musical “Orosman at Zafira”.
Classes are from Monday to Friday, for a total of 15 sessions. Participants will be exposed to theater training and creative games, which will culminate in a musical showcase for friends and family at the Theater of the Marcelo Fernan Press Center in Lahug on May 21.
The workshop fee is P4,800, with group and early bird discounts available. Registration is ongoing at 3/F, Manros Plaza Building, across Fooda, on Mango Avenue. Please call 2549320 or 4158058 or add Little Boy Productions on Facebook for more information.
Thursday, March 03, 2011
Meanwhile, on the home front...
• Because somebody asked: I don't earn anything from this blog. There are no ads, no paid PR placements, no Paypal Donate button, nada. I don't charge for the theater releases I post here--they're my form of help in getting the word out about new productions, and also reminders to me about the shows I need to catch. Other than that--if you're with a theater company, or involved in a theater project, and somebody approaches you with an offer to have something posted in my blog for a fee, run away as fast as you can, but not before giving that fleecebag the finger on my behalf.
• You will see Google ads in some old entries. Those are a throwback to a time when I had Google ads on the front page and on every archived post. But since they only seemed to slow down the blog, I've ditched all advertising, though I haven't gotten around to removing the old ones. They'll be gone soon, too. Disclosure: Did I earn money from Google AdSense? Yes, for a brief time, in 2006-2007: 200 dollars, the first $100 check arriving by mail after eight months of blogging, the second and last one five months after that. The thing with Google AdSense is, it'll only earn if you have enough traffic clicking on those ads. I don't--so the chore of affixing the code to every archived entry in hopes of the ads inducing user clicks eventually became a drag.
• To clarify--getting the AdSense code is absolutely free, you don't need to peddle any particular product or be associated with one; the ads are tailored by Google to your blog's content. I had no hand in who clicked the ads that appeared here--who are these people who click on Internet ads, anyway?--so I feel comfortable about having received those couple of hundred dollars for my personal blogging. But, after having done this for over four years, I don't really care now about earning from the blog, or even getting the kind of massive traffic that would enable that. I haven't checked my SiteMeter stats in ages, and I'm only grateful that people continue to read, visit, comment, or plain lurk. The site's cleaner, simpler without the ads. It will stay that way.
• It's easy to spot which are my personal entries and which ones are press releases on this site. My writing comes in the type/font you're reading now. The PRs appear differently--in Verdana font, italics, smaller type (e.g, here). See the difference? That should distinguish between writing that's mine, that carries my byline, and pieces requested by (mostly) theater folk to be posted here. Do I accept non-theater releases? Sure, as long as they fall within the ambit of my personal passions and interests as enumerated in the masthead. Nothing against, say, a Nestea volleyball competition, or the launch of the latest Mac makeup, but they're not what this blog is about.
• However, every single PR that appears here is reviewed and edited personally by me. I don't blindly cut-and-paste. More often than not, I end up rewriting the piece to make it clearer, more concise and straightforward. I can't say this enough: When writing a press release, go straight to the point. Make it news-y. Leave the attempt at creative writing somewhere else. PRs are for getting information out there as plainly and efficiently as possible. While I welcome PRs related to my interests, sloppy, poorly written ones will not appear here as they are. Check out other blogs: If all they do is copy-paste press kits verbatim down to the last glaring dangling modifier, you know there isn't much original thought or effort going on there.
• Ah, Mr. Anonymous commenter. I think I've developed latent osteoporosis from all the bending over backwards I've done to accommodate all manner of commentary here. I don't mind unsigned comments--as long as they say something sensible or valuable. I don't even mind that the point might be contrary to my own opinion. At various times, various competing viewpoints have been aired in this blog, and that's something I welcome. What I draw the line at is vicious anonymous commentary. Bad enough that these trolls are too cowardly to attach a name to their words; worse, what they post is just nasty, useless bile.
• My journalistic instinct to always explain, make things clear, has more than once led me to tangle with an anonymous commenter. But I should really take my cue from Fickle Cattle, whose blog I admire, and who's got a better idea: I have a lot of respect for people who disagree with me and who do so openly and proudly... [But] how do you fight cowards who hide in the shadows?
Well, you don’t. From my experience, the best way is to not fight at all. Most of these commenters are really just people trying to get a rise out of you, or who wants to grab some bit of attention for themselves. Why give them what they want? Better to ignore them.
In my case, I usually just delete the comment they wrote. I’ve since learned that trolls hate indifference more than anger. Indifference merely reflects the fact that these people aren’t important at all. To show your anger is to give them some significance. When you do not even try to acknowledge that they made a comment, then you emphasize the worthlessness of their words, which is perfectly okay since their words precisely are worthless.
That sounds just about right. Ignore, baby, ignore. [Update: Or mark as spam!] Now, on to more blogging.
• You will see Google ads in some old entries. Those are a throwback to a time when I had Google ads on the front page and on every archived post. But since they only seemed to slow down the blog, I've ditched all advertising, though I haven't gotten around to removing the old ones. They'll be gone soon, too. Disclosure: Did I earn money from Google AdSense? Yes, for a brief time, in 2006-2007: 200 dollars, the first $100 check arriving by mail after eight months of blogging, the second and last one five months after that. The thing with Google AdSense is, it'll only earn if you have enough traffic clicking on those ads. I don't--so the chore of affixing the code to every archived entry in hopes of the ads inducing user clicks eventually became a drag.
• To clarify--getting the AdSense code is absolutely free, you don't need to peddle any particular product or be associated with one; the ads are tailored by Google to your blog's content. I had no hand in who clicked the ads that appeared here--who are these people who click on Internet ads, anyway?--so I feel comfortable about having received those couple of hundred dollars for my personal blogging. But, after having done this for over four years, I don't really care now about earning from the blog, or even getting the kind of massive traffic that would enable that. I haven't checked my SiteMeter stats in ages, and I'm only grateful that people continue to read, visit, comment, or plain lurk. The site's cleaner, simpler without the ads. It will stay that way.
• It's easy to spot which are my personal entries and which ones are press releases on this site. My writing comes in the type/font you're reading now. The PRs appear differently--in Verdana font, italics, smaller type (e.g, here). See the difference? That should distinguish between writing that's mine, that carries my byline, and pieces requested by (mostly) theater folk to be posted here. Do I accept non-theater releases? Sure, as long as they fall within the ambit of my personal passions and interests as enumerated in the masthead. Nothing against, say, a Nestea volleyball competition, or the launch of the latest Mac makeup, but they're not what this blog is about.
• However, every single PR that appears here is reviewed and edited personally by me. I don't blindly cut-and-paste. More often than not, I end up rewriting the piece to make it clearer, more concise and straightforward. I can't say this enough: When writing a press release, go straight to the point. Make it news-y. Leave the attempt at creative writing somewhere else. PRs are for getting information out there as plainly and efficiently as possible. While I welcome PRs related to my interests, sloppy, poorly written ones will not appear here as they are. Check out other blogs: If all they do is copy-paste press kits verbatim down to the last glaring dangling modifier, you know there isn't much original thought or effort going on there.
• Ah, Mr. Anonymous commenter. I think I've developed latent osteoporosis from all the bending over backwards I've done to accommodate all manner of commentary here. I don't mind unsigned comments--as long as they say something sensible or valuable. I don't even mind that the point might be contrary to my own opinion. At various times, various competing viewpoints have been aired in this blog, and that's something I welcome. What I draw the line at is vicious anonymous commentary. Bad enough that these trolls are too cowardly to attach a name to their words; worse, what they post is just nasty, useless bile.
• My journalistic instinct to always explain, make things clear, has more than once led me to tangle with an anonymous commenter. But I should really take my cue from Fickle Cattle, whose blog I admire, and who's got a better idea: I have a lot of respect for people who disagree with me and who do so openly and proudly... [But] how do you fight cowards who hide in the shadows?
Well, you don’t. From my experience, the best way is to not fight at all. Most of these commenters are really just people trying to get a rise out of you, or who wants to grab some bit of attention for themselves. Why give them what they want? Better to ignore them.
In my case, I usually just delete the comment they wrote. I’ve since learned that trolls hate indifference more than anger. Indifference merely reflects the fact that these people aren’t important at all. To show your anger is to give them some significance. When you do not even try to acknowledge that they made a comment, then you emphasize the worthlessness of their words, which is perfectly okay since their words precisely are worthless.
That sounds just about right. Ignore, baby, ignore. [Update: Or mark as spam!] Now, on to more blogging.
Wednesday, March 02, 2011
Indaaay...
“Silliness is an assertion of youthfulness... the vulgarity, the noise, the glorious gossamer folderol are all a bold and fierce declaration of life.” -- John Lahr
Akshuli, no pretentious quotes needed. Just watch the video below--all the way to the end, okay? You CAN'T miss the mad twist. The performance has made it to noontime TV--in truncated form, with the hosts braying annoyingly on the side--but this is the complete, unexpurgated concept. It's beyond bizarre, it's brilliant. Whoever you are in the vid--pota ka, amvongga!
Akshuli, no pretentious quotes needed. Just watch the video below--all the way to the end, okay? You CAN'T miss the mad twist. The performance has made it to noontime TV--in truncated form, with the hosts braying annoyingly on the side--but this is the complete, unexpurgated concept. It's beyond bizarre, it's brilliant. Whoever you are in the vid--pota ka, amvongga!
Upstart Productions' Breakups & Breakdowns ongoing until March 12 at Teatrino, Greenhills
With original music by Trinidad and his creative partner Rony Fortich, currently the musical director of Hong Kong Disneyland, "Breakups & Breakdowns" assembles some of the country’s finest theater actors--Carla Guevara-Laforteza, Reuben Uy, Jenny Jamora and Emerita Alcid-Trinidad, along with Trinidad himself.
"Breakups & Breakdowns" centers on the bittersweet complexities of falling in and out of love by presenting the intertwined and romantic narratives of four individuals--playwright Mark and his ex-girlfriend Nina and Mark’s friend, Derek and another girl named Sandy.
The musical was first staged at the Ateneo De Manila University, also under Trinidad's direction, as one of the productions of Ateneo Blue Repertory. Trinidad, who says the material is loosely based on his own romantic experiences, was encouraged to bring the show to a bigger and more popular venue with the growing interest of the mainstream Filipino market in musical-theater productions.
For tickets, call 0949-7917270 or 9646562, or email upstarttickets@gmail.com.
The Rainbow Connection--night bazaar and performances at CCP for LGBT
The Cultural Center of the Philippines and Task Force Pride Philippines--a network of Lesbian, Gay, Bisexual and Transgender groups and individuals that seeks to promote positive visibility for the LGBT community--is holding "The Rainbow Connection."
This event, part of the CCP Night Market series, will feature a night bazaar along with performances by various LGBT and LGBT-friendly artists. It will be held on March 4, 2011 (Friday) at the CCP Eskinita, and will go on from 6 p.m. till 12 midnight.
Performances will include, among others, excerpts from Tanghalang Pilipino's "ZsaZsa Zaturnah Ze Musikal", Teatro Tomasino's "Final Mark" and the Amazing Theater Group, indie music, and performance poetry from Venus in Orbit and Bigkas Pilipinas.
The program will be hosted by Carlos Celdran (well-known tour guide, artist and reproductive health advocate) and Perci Cendana (Commissioner, National Youth Commission).
The bazaar will offer LGBT-themed merchandise and other great finds, among them:
• Artworks and books
• Clothes and Accessories--designer, vintage, new and avant-garde
• Food and wine
• Beauty products and fragrances
• Health and wellness products
• Spa
• Travel and tours
• Dream photo booth
• Wet 'n wild booth
Entrance is absolutely free. Experience true colors. Different tastes. Varied lifestyles. Celebrate Diversity!
This event, part of the CCP Night Market series, will feature a night bazaar along with performances by various LGBT and LGBT-friendly artists. It will be held on March 4, 2011 (Friday) at the CCP Eskinita, and will go on from 6 p.m. till 12 midnight.
Performances will include, among others, excerpts from Tanghalang Pilipino's "ZsaZsa Zaturnah Ze Musikal", Teatro Tomasino's "Final Mark" and the Amazing Theater Group, indie music, and performance poetry from Venus in Orbit and Bigkas Pilipinas.
The program will be hosted by Carlos Celdran (well-known tour guide, artist and reproductive health advocate) and Perci Cendana (Commissioner, National Youth Commission).
The bazaar will offer LGBT-themed merchandise and other great finds, among them:
• Artworks and books
• Clothes and Accessories--designer, vintage, new and avant-garde
• Food and wine
• Beauty products and fragrances
• Health and wellness products
• Spa
• Travel and tours
• Dream photo booth
• Wet 'n wild booth
Entrance is absolutely free. Experience true colors. Different tastes. Varied lifestyles. Celebrate Diversity!
Tuesday, March 01, 2011
Once again, Dulaang Sibol's Sa Kaharian ng Araw
[Note: This brief write-up first appeared in yesterday's Arts and Books section of the Inquirer. It's written by Onofre Pagsanghan of Ateneo's Dulaang Sibol, a man I look up to with utmost respect and affection and who I feel is overdue for a National Artist award for Theater--so there goes my reason for reposting it here.]
ATENEO'S DULAANG SIBOL PRESENTS A PLAY THAT 'PROBES, DISTURBS'
WHEN you ask an Atenean to describe to you what an Atenean is in three simple words, he will most probably say, “Man for others.”
How to put this “man for others” on center stage of Ateneo’s Dulaang Sibol?
Of course, you can spotlight the presence of something by putting it dead-center. But sometimes it is more startling to spotlight something by its absence.
“Sa Kaharian ng Araw” explores the more exciting second option. What “Kaharian” puts on center-stage is not the “Man for others,” but his antithesis—the “Man-for-self,” in his many masks: the man-for-prestige, the man-for-possessions, the man-for-power.
But, at the end of the play, when the man-for-self confronts, in terror, the void in his life and pitifully screams his hollowness; what the audience sees is not only the shell of the man that is, but also the ghost of the man that could have been, and hopefully, in catharsis, the vision of the man the audience hopes to be.
Not comfortable
“Kaharian” is not a comfortable play to watch; it probes, it disturbs. It journeys through the first four scenes in unabashed fable-fresh simplicity, until it explodes unexpectedly in a shattering final scene.
“Kaharian” is reminiscent of the morality plays of the medieval ages, particularly, “Everyman.” Both plays revolve around a journey and centers around the journey’s end. Both plays try to illuminate what in life is truly of value.
The play ends even as it begins, still in the world of the users and the used, the abusers and the abused. Like rats, they race on, dead set on the vanished splendor of the Kaharian ng Araw.
When this writer chanced upon the first version of this play, as written by a 14-year-old Sibolista in second-year high school, this writer knew that here, indeed, was the raw material for a significant Sibol play.
And Dulaang Sibol tells this story at 6:30 p.m. on March 4, 5, 11, with its full, if limited arsenal, in theatercraft, prose threatening to leap into poetry, hopelessly Quixotic; music, a blend of folk and pop, idealistically young; sets and costume, stylistic, bravely Filipino.
ATENEO'S DULAANG SIBOL PRESENTS A PLAY THAT 'PROBES, DISTURBS'
How to put this “man for others” on center stage of Ateneo’s Dulaang Sibol?
Of course, you can spotlight the presence of something by putting it dead-center. But sometimes it is more startling to spotlight something by its absence.
“Sa Kaharian ng Araw” explores the more exciting second option. What “Kaharian” puts on center-stage is not the “Man for others,” but his antithesis—the “Man-for-self,” in his many masks: the man-for-prestige, the man-for-possessions, the man-for-power.
But, at the end of the play, when the man-for-self confronts, in terror, the void in his life and pitifully screams his hollowness; what the audience sees is not only the shell of the man that is, but also the ghost of the man that could have been, and hopefully, in catharsis, the vision of the man the audience hopes to be.
Not comfortable
“Kaharian” is not a comfortable play to watch; it probes, it disturbs. It journeys through the first four scenes in unabashed fable-fresh simplicity, until it explodes unexpectedly in a shattering final scene.
“Kaharian” is reminiscent of the morality plays of the medieval ages, particularly, “Everyman.” Both plays revolve around a journey and centers around the journey’s end. Both plays try to illuminate what in life is truly of value.
The play ends even as it begins, still in the world of the users and the used, the abusers and the abused. Like rats, they race on, dead set on the vanished splendor of the Kaharian ng Araw.
When this writer chanced upon the first version of this play, as written by a 14-year-old Sibolista in second-year high school, this writer knew that here, indeed, was the raw material for a significant Sibol play.
And Dulaang Sibol tells this story at 6:30 p.m. on March 4, 5, 11, with its full, if limited arsenal, in theatercraft, prose threatening to leap into poetry, hopelessly Quixotic; music, a blend of folk and pop, idealistically young; sets and costume, stylistic, bravely Filipino.
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