HALUHALO: THEATER
‘Kislap at Algo’ REVIEW: Imagining a Revolution
The twinbill ‘Kislap at Algo’ is a testament to a need for a wake-up call for the Filipino youth to realize that living in a post-truth society has caused us to become passive consumers of dominant narratives. It captures specifically what these dominant Filipino narratives have continued to shape our mainstream consciousness. Challenging these narratives prevents the distortion of realities and myths from being made or dehumanized.
The Pop Herstory of Gregoria Lakambini
The legacy of Gregoria de Jesus is finally out in the open with Tanghalang Pilipino’s entertaining and creative musical adaptation of the Katipunan icon’s life.
Thoughts on Ateneo Blue Repertory’s ‘The Guy Who Didn’t Like Musicals’, From a Gal Who Really Likes Starkid Musicals
Ateneo Blue Repertory’s production of The Guy Who Didn’t Like Musicals was promising and entertaining. I remember being extremely excited when this was first announced, and the production did not disappoint.
The spectacle of ‘The Bodyguard The Musical’
The performances are definitely highlights of The Bodyguard The Musical, but no amount of “I Wanna Dance With Somebody” encores can save this production.
‘Para Kay B’: All About Lucas
The play is ultimately the confrontation of the male writer and the power of literature. It can create worlds and transport you into them.
On time and grief: Scene Change’s ‘3 Upuan’ and ‘Dagitab’
There are numerous works of art surrounded by the topic of grief in hopes we can come to terms with it. What we learn is grief and the passage of time while dealing with grief are different to everyone. In the two recent plays from Scene Change, 3 Upuan and Dagitab, these two forces are the primal focuses. Both plays, written by Guelan Varela-Luarca, handled the themes in different ways and were done with care and knowledge about the themes.
Come look at the Freaks: The relevance of ‘Side Show: The Musical’ today
The product of Sandbox Collective’s efforts is a more humanized look at each character in the show and every decision they made for this production is made with empathy and understanding.
O ye of little faith, watch 'Grace'
‘Grace’ is a moving work that resonates with our history as a nation of devotees whose religion wasn’t endemic to our land but whose faith is like that of a mustard seed.
Resilience of Humanity and of Those Who Come From Away
The beauty of humankind is found in compassion, and ‘Come From Away’ displayed this wonderful act of goodness.
The Playbook Club’s Twinbill ‘First Love, Last Love’: A Bleak Take on Love and Relationships
Rafael Jimenez’s twinbill ‘First Love, Last Love’ tackles the immaturity that accompanies inexperienced love. That love, like everything else, is shaped by forces outside one’s control: future events, societal laws, and government policies.
What ‘Choosing’ means for Liza and Ice
In this Pride Month special, we talked to Ice Seguerra and Liza Diño-Seguerra about ‘Choosing (A Stage Play)’ and how it breaks the stigma on the challenges that LGBTQIA+ couples go through, embracing all the decisions they make like broken fragments in kintsugi.
Sh*t, We Really Aren't Kids Anymore
Watching the Barefoot Theatre Collaborative's ‘We Aren’t Kids Anymore’ was an emotional journey as an adult still figuring it all out. Sometimes we just need a piece of art that makes us feel seen and heard, for someone to tell us that we'll get through it.
The Case for Mother Earth: 3 Stories From Katipunan’s Theater Scene
The battle of Katipunan takes a three-week intermission as Dulaang Unibersidad ng Pilipinas and Tanghalang Ateneo unite in the name of theater for their respective season-ender productions.
Stage is the Perfect Medium for 'Anino sa Likod ng Buwan'
Watching the film with the knowledge of the play finally being staged this year, I kept agreeing with that decision: maybe theater is the perfect place for ‘Anino sa Likod ng Buwan.’
2024 Philippine Theater: A Curtain Call to Excellence
As we reflect on the remarkable moments of the past year in the theater scene, here are some of the highlights that made 2024 an unforgettable year for stage performances
The Sandbox Collective’s ‘Next to Normal’: A Portrait of a Filipino Family
The Sandbox Collective’s ‘Next to Normal’ offers the audience a chair at the Goodman family’s dinner table, allowing us to see past the walls they’ve built for themselves and into their heart of hearts.
CAST PH’s ‘Freud’s Last Session’ and The Greatest Debate That Never Happened
With its barebones staging and sharp dialogue, CAST PH’s stage reading of ‘Freud’s Last Session’ demonstrates that even the simplest of setups can leave the audience pondering about the everlasting debate between faith and reason.
‘Nagkatuwaan Sa Tahanang Ito’ REVIEW: A Wonderfully Staged Exercise in Exerting and Releasing Control - Like Any Great Family
Mad Child Productions’ ‘Nagkatuwaan Sa Tahanang Ito’ raises thorny questions and feelings about family. Three people orbit Kendra’s preferred definition of family, even if Kendra is forced to examine what it really means to keep a family close.
‘Sandosenang Sapatos’ REVIEW: For the dreamers despite of it all
The ending of Sandosenang Sapatos ultimately seals the show’s overall thesis: unconditional love can never be broken, no matter how many storms test its strength.
Mothers, sons, and the Martial Law era in ‘Emulsyon’
As a twin bill, ‘Emulsyon’ makes perfect sense of how both plays are centered on a mother and son and the impacts of the Martial Law era in the Philippines, but contrasting in the tone and how the characters grapple with their realities.