The COVID-19 pandemic has presented immense challenges to industries around the world. With mobility restrictions in place, business owners had to rethink their operations and adjust to navigate the uncertainties in the new normal. Although some companies were able to adapt and seamlessly shift to the new norm, the process was not easy with many struggling with financial losses and temporary business closures. A survey from the Asian Development Bank (ADB) released September last year reported that the Philippine economy experienced the worst impacts of the pandemic. The Philippines logged the highest number of business closures and layoffs among its peers in Southeast Asia. Despite that, Jovy Hernandez, ePLDT President & CEO and SVP and Head of PLDT & Smart Enterprise and International Business Groups, said that resilience is one of the core values that helped businesses conquer the challenges of the pandemic. This ‘unbreakable spirit’ of enterprises allowed them to embr
The award winning classic play of Tanghalang
Pilipino is making a comeback this October at Tanghalang Huseng Batute of the
Cultural Center of Philippines, this is the American classic and politically
relevant “Ang Pag-Uusig” or The Crucible by Tony Award winning playwright
Arthur Miller.
Along with Actors Company, this year’s rerun
proves a lot in terms of acting performances, most its original cast are now
doing dual roles, it’s a challenge for many of its actors specially on
memorization part, this play had a kilo-metric lines. Compare to 30 rehearsals
before, this revival only had 12 practice to perfect it.
I’ve never seen the first run in 2017, but
this one really blow me away, it is intense and more eye connection to its characters,
blocking in one stage format is surely admired same in the previous shows, script
analysis is also use in this production to help all the actors give their best.
One notable change this time is the adaption
of Filipino dress or Barong in the Act 2 of the play, somehow it makes you feel
connected since majority of its audiences are Filipino, Ang Pag-Uusig is set in
1950’s base on the story with Latin American settings by Miller, but its theme
and strong message can be conveyed in today’s time, in line with Tanghalang
Pilipino tagline “Utak, Puso, Bayan”.
True to its original content, Ang Pag-Uusig tells
a story of one village face with fear, greed and power, over telling the truth
and telling a lie, using witchcraft as medium of condemning and making others
suffer the consequences of the justice system.
Ang Pag-Uusig is still under the Direction of
Dennis Marasigan, the translation to Filipino is by Jerry Respeto. Six Gawad
Buhay awards won by this play last 2017 including Best Direction, Translation,
Ensemble Performance in a play, and Male Lead Performance in a play.
Playing for four weekends, this play closes
on October 28, 2018.Tickets are P1,000 (VIP), P8,000 (Bleachers) all are
available at Ticketworld Online or thru CCP Box Office or call Tanghalang Pilipino
Office at +632 823 1125 loc 1620 and +63 915 607 2275.
Princess Laura, Prince Florante, Prince Aladin and Princess Flerida. Amidst innovations and new techniques in presenting play, the Gantimpala Theater Foundation, Inc stand in delivering the Filipino classic story “Florante At Laura” in a traditional way as they open 38 th Season. They use the Komedya complete with majestic marches and grand batalia for the entire run of Florante and Laura. Theater thespian Roeder Camanag told us that they have preliminary talks and briefing with schools on how the classic way of theater production on stage. Camanag direct this year’s Florante at Laura with Paul Jake Paule playing Florante and Ellrica Laguardia as Laura. Ace Urieta is Adolfo, Jeffrey Carpio is Aladin, and Sharlene Rivera and Ira Ruzz is alternating for Flerida. Florante At Laura as well know is written by Francisco Balagtas, it’s one of the most epic and enduring Filipino literary masterpieces. Boni Ilagan write the script for the staging that Camanag claim a very
Spoliarium, an opera with libretto by Soprano Fides Cuyugan-Asensio and with music by Ryan Cayabyab was the first production I saw pertaining to the life of Juan Luna. Originally staged at the CCP in 2003 starring Robert Seña at the titular role, the opera was staged in Tribeca Performing Arts Center in New York thirteen years later. Philippine Stagers Foundation (PSF) current production of "Obra Ni Juan " was my follow-up. This original Filipino musical entertainment was written by Atty. Vince Tañada, PSF President and Artistic Director and with music by Peter Paul "Pipo" Cifra, president of UST Conservatory of Music Alumni Association Incorporated, marked as my first production I saw from PSF. Established in 2002, PSF is a professional theater company with an objective of helping the poor, elderly, sick and even the forgotten, has been consistently conducting free theater workshop in schools nationwide and continuously organizing outreach programs to va
JOIN the Pinoy Readers Toastmasters Club in the online book discussion of Ani 41: Lakbay on June 5, 3pm, via Zoom. A speech club and a book club in one, Pinoy Readers Toastmasters Club was chartered as a club by Toastmasters International on March 29, 2021. Aside from their desire to improve their communication and leadership skills, the 28 members of the club are all passionate lovers of literary works, especially those written by Filipino authors. The Ani 41 book discussion will be moderated by Beverly Siy, club treasurer and head of the CCP Intertextual Division. Edited by award-winning writer and editor Herminio S. Beltran, Jr., with Mia P. Tijam as the special section editor, the latest edition of Ani, the official literary journal of the Cultural Center of the Philippines (CCP), features multilingual Philippine literary works on travel. It contains 146 literary works in various literary genres, selected from over thousands of submissions from different parts of the coun
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