Peta's Care Divas additional runs May-July 2011

Cast of Care Divas

Announcement from Philippine Educational Theater Association

Peta's Care Divas will have an additional run from May 6 to 8, June 10-19, and July 8 to 24, 2011.
Call: 725-6244, 410-0821 to 22, 0917-564-2433.

I wrote my thoughts on the show here.

Prior to that, I wrote an article about it here.

What do you think of this production? Share your comments.

Submission deadline of proposals for IUTA-Phils May 15, 2011

Call for proposals / letters of intent to present at 
IUTA-Philippines meeting on July 18-20,2011
Deadline: May 15, 2011

Through the initiative of the International University Theater Association-Philippines, we are calling on fellow teacher-theater artists who are interested to share their experiences in theater and education through the following:
- 15 minute paper presentation on their outstanding experiences in theater/teaching theater in their respective universities
- 30-45 minute excerpt of an outstanding theater piece
- 1-2 hour workshop demo on their chosen field of theater and/or theater in education

The presentations will coincide with the meeting of members of the International University Theater Association-Philippines on July 18-20,2011 at a venue that will be announced later.

Send proposals/ letters of intent through
before or on May 15,2011
For details, email

We look forward to your participation.
Sincerely yours,
Prof.Glecy C.Atienza, PhD
College of Arts and Letters
University of the Philippines
Diliman,Quezon City
The International University Theatre Association was established in 1994 to develop and promote recognized post-secondary activity in theatre training, creation, research and theoretical and practical research, throughout the world, at the level of university or higher studies.

IUTA is present in every continent and has members in over fifty countries.

Designed by and for people from universities and other types of post-secondary learning institutions, IUTA is a unique forum where teachers, practitioners, creators, scholars and theorists can share discoveries and discuss common concerns. IUTA is open to all members of the academic community with an interest in theatre.

The IUTA holds a World Congress every two years.

The aim of IUTA is to develop and promote university theatre worldwide. ‘University theatre’, in this context, means any theatrical activity carried out within higher and tertiary education institutions, as training, creative or research activities, either theoretical or practical.

Aware of the role theatre plays in fostering dialogue and understanding between cultures, the association promotes exchanges and collaboration between university theatres (be it spontaneous student theatre, assisted, vocational or professional work) as well as contacts with amateur and professional theatres.

What do you think about this meeting?  Share your comments.

Application deadline for 2011 UST J. Elizalde Navarro Nat'l Workshop in Criticism on the Arts and Humanities May 2, 2011

Image from
This announcement isn't about theater per se, but if there are any writers out there who usually write about  theater, then you should try applying for this workshop.  The workshop discusses critical theories (usually used for literature) applied to all the arts and humanities, depending on the interest/s of the applicants and their submitted entries, including theater/performance/performativity.

The University of Santo Tomas
is now accepting applications to the
2011 UST J. Elizalde Navarro National Workshop in Criticism on the Arts and Humanities 
to be held in Baguio City late May.
Deadline: May 2, 2011

The workshop is endowed and organized by The Varsitarian, the 83-year-old official student publication of UST. It is held in honor of the late National Artist for the Visual Arts and art critic J. Elizalde Navarro, who was art editor and critic-poet of The Varsitarian during his student days; and in connection with the Quadricentennial Celebration of UST, which was established in 1611 and is now Asia's oldest university.

Fellowships will be given to 10 promising young critics who would like to enhance their analytical, research and writing skills.

To be considered for the fellowship, applicants should submit a scholarly, properly documented critical essay (10-15 pages, double-spaced, 12-point font) on the following art forms: painting, sculpture, architecture, dance, drama, music, film or photography.

Manuscripts should be submitted in hard copy and on CD, preferably in MS Word, together with an updated resumé; a recommendation letter from an academic mentor or an art critic; a certification that the works are original; and two 2X2 ID pictures.

Address all applications to:
Ralph Semino Galán, assistant professor
Ferdinand M. Lopez, associate professor
Workshop Conveners
Faculty of Arts and Letters, University of Santo Tomas,
España Blvd., Sampaloc , Manila

For details, contact

What do you think of this workshop? Do you think it will help develop more writers/writings on theater and the performing arts? Share your comments.

Pinoy grabs lead role in Chicago staging of King and I April 29-May 1, 2011

Jay Españo
Yay! My article on an upcoming production of "King and I" in Chicago featuring former Tanghalang Pilipino actor Jay Españo was published by Philippine Daily Inquirer for its April 25, 2011 issue.
Pinoy grabs lead role in Chicago staging of "King and I"
By Walter Ang

Former Tanghalang Pilipino actor Jay Españo will be playing the lead role in a Chicago staging of Rodgers and Hammerstein's "The King and I" by the Drama Group.

He had auditioned for the role of Lun Tha "because I really like his love songs," he says. When the show's director, Andy Leahy, asked him to read the king's part, Españo credits his ignorance of any version of the musical (including the movie version) that landed him the part.

"I wasn't stuck with the default stereotype as portrayed by Yul Brynner. I think there were moments in the reading that I made the king likeable and humorous, rather than making him a stern despot," he says of the Thai monarch who is won over by English teacher
Anna Leonowens.

He now travels 40 minutes every day to attend rehearsals.  "The Drama Group is 32 miles from the city where I live," he says.  The long transits are not new to Españo as he's been shuttling back and forth between Manila and Singapore for the past several years.  He's been visiting the US more often lately as part of his efforts to "to go all-out global."

Continuous learning
The Singapore chapter of his career began when joined "Chang and Eng, The Musical." Years later, he wrote, directed and produced "The Tales of Three Marias," a show about Filipino domestic helpers living in Singapore, after interviewing over 50 of them.

Having won silver medals in the acting and singing categories in World Championship of Performing Arts 2008 hasn't stopped him from continually takes classes to improve his craft.

He got hooked on yoga four years ago and even got a certification to teach it.  His interest in movement was further piqued while taking his Musical Theater degree (on scholarship) at Lasalle College of the Arts.  "We had a class where we studied all kinds of movement philosophies."

He was inspired to take a graduate degree in Laban Movement in Chicago.  "Laban is a tool for observing and analyzing movement. The idea of the body being aware of incorporating space, time, weight and flow is astonishing to me. Being able to properly utilize your body is an excellent tool to have as an actor. Movement is an external manifestation of one's inner behavior."

"The trend now in most acting schools is gearing towards the studies of movement. Aside from Laban, you have yoga, Alexander Technique, Feldenkrais, Suzuki Method combined with Anne Bogart's Viewpoints and a lot more. Although they differ in technique, they all agree that one must be cognizant of their bodies to function efficiently in life."

Españo credits Tanghalang Pilipino for instilling in him the importance of continuous study and "a high regard for discipline which I still carry to this very day."  He joined TP as a scholar of the Actors Company, TP's resident pool of actors, in the late 90s.

"Everybody in the company was serious and dedicated in the craft.  We had classes in the afternoon and rehearsals at night, different classes like movement class with Agnes Locsin, or improv with Anna Valdez-Lim and other teachers."

"My favorite and also most dreaded class would be Script Analysis with [TP founder] Nonon Padilla," he says laughing. "Each week we were assigned to read a play and analyze it in class. I would just sit there and listen to him for hours as he munched on peanuts while delivering his take on the chosen text of the week."

Españo waxes nostalgic after noting that TP is celebrating its 25th anniversary. "I miss working with TP people. I remember doing 'Besa Me Mucho' where I was required to dance the tango in a pair of red thongs in the intimate Tanghalang Batute.  Most of the time, I'm more worried about memorizing my lines.  That was the only time I was fussy over a costume or the lack of it," he says.

He also recalls forgetting his lines during a long monologue in a performance of 'Ang Ulo ni Pancho Villa.'  "I resorted to gibberish.  Luckily my co-actors Olga Natividad, Joey Paras and George de Jesus picked up the cues pretty well," he says laughing.

Other projects
Españo is maximizing his time in Chicago by taking up improvisation classes at the renowned Second City. "Second City is the Harvard of improv theater. It's where the likes of Tina Fey, John Belushi and Steve Carell came from."

He's now on his second year and learning Music Improv.  "We learn how to make up songs while doing a scene. This is what they do in the TV show 'Who's Line Is It Anyway?'"

He will also be doing a dinner show with Miguel Vera in May, a Rizal musical in June, and a Rizal opera in November.  "The musical and opera are for the 150th anniversary of Jose Rizal.  And hopefully, I will have a solo show in September."

This production of "The King and I" is a limited performance for The Drama Group's 80th anniversary. Filipino-Americans Randy Ballesteros and Nicole Dizon will play LunTha and Tuptim, respectively.

"The King and I" runs April 29 to May 1, 2011 at Bloom Theatre, 101 W. 10th Street, Chicago Heights, Illinois, USA.  Visit

Also published online:

What do you think of this production? Share your comments.

CDNP's "Hijack Dance (...define dance)" April 29, 2011

Contemporary Dance Network Philippines
"Hijack Dance (...define dance)"
April 29, 2011, 5pm
Sidewalk of Gen. Aguinaldo Ave., Araneta Center, Cubao, Quezon City
Free event

"Contemporary Dance Map Gala"
April 30, 8pm, 
Dance Forum Studio36E West Avenue, Quezon City
Tickets for sale
Contact 09178514732

International Dance Day was founded in 1982 by the International Dance Committee of the International Theater Institute of UNESCO and celebrated every April 29.

In this year's celebration we are enjoined to take a step back and celebrate in "open spaces:  streets, squares, parks, stadiums, beaches, parking lots, clearings - anywhere under the sky."  Throughout the year, "we teach dance, we rehearse, we perform within four walls."  But "on this special day dedicated to dance, [let us] mark the difference by practising, teaching or performing for everyone to see. It might be cold and rainy, the floor is certainly not good enough, and the wind takes the music away, but the beauty in those movements and the joy on those faces will brighten the hearts of the spontaneous audience of passers-by." -- from the circular by UNESCO's International Dance Council.

This event is part of CDNP's Contemporary Dance Map series, an effort to map alternative spaces for dance in a performance tour of these spaces. The series started in 2005 and has since continued yearly and still remains the forum by which contemporary-dance artists in urban Metro Manila renew and rethink their commitment to contemporary dance-both in the creative aspect and in the training and nurturing of new talent.

Two shows
Responding to the call to perform in open spaces, CDNP performs"Hijack Dance … define dance" on April 29, 2011, 5pm at the Araneta Center, on the sidewalk of Gen. Aguinaldo Avenue.

Performed by Contemporary Dance Network Philippines with U.P. Percussionists and guest artists, in cooperation with the Quezon City Gov't. and Araneta Center.  The concept for "Hijack Dance" is to engage the idea of dance as spectacle but in an excessive, hilarious or extraordinary way in the hopes of challenging some stereotype ideas about dance.

We invite everyone to cap IDD celebrations with the "Contemporary Dance Map Gala" on April 30, 2011, 8pm, Dance Forum Studio (36E West Avenue, QC).  Tickets for this show are priced at P150. For more info, contact: 09178514732

Every year has a message by an eminent dance personality.  This year, the message is by Belgian choreographer, Anna Teresa de Keersmaeker, artistic director of Rosas, and founder of P.A.R.T.S. Dance School:

I think dance celebrates what makes us human.
When we dance we use, in a very natural way, the mechanics of our body and all our senses to express joy, sadness, the things we care about.
People have always danced to celebrate the crucial moments of life and our bodies carry the memory of all the possible human experiences.
We can dance alone and we can dance together. We can share what makes us the same, what makes us different from each other.
For me dancing is a way of thinking. Through dance we can embody the most abstract ideas and thus reveal what we cannot see, what we cannot name.
Dance is a link between people, connecting heaven and earth.
We carry the world in our bodies.
I think that ultimately each dance is part of a larger whole, a dance that has no beginning, and no end.

CNDP, currently chaired by Angel Lawenko-Baguilat, is composed of contemporary-dance companies, artists, school-based organizations, critics and institutions, whose goal is to promote contemporary dance in the Philippines.

Last year, I wrote about CDNP's performance for International Dance Day here. (You can also read it here.)

What do you think of this production? Share your comments.

NCCA's Philippine International Dance Festival April 27-29, 2011

Photo from NCCA website, from last year's festival
National Commission for Culture and the Arts' National Committee on Dance
Philippine International Dance Festival: Dance Xchange 2011
April 27-29, 2011
Meralco Theater, Ortigas Ave., Pasig City
Free admission

To date, the following performing groups have confirmed to participate:
The Big Dance Company - England
Dancemode Studio - Hongkong
Bangkok Dance Academy - Thailand
Dua Space Dance Theatre - Kuala Lumpur, Malaysia
Raka Maitra Dancers - Singapore
Senju Dance Company - Japan
Jun Eun Ja Dance Company - South Korea
The Dance Academy - Kuching, Malaysia
Vietnam National Dance College - Vietnam
Yuan-Yuan Indigenous Culture and Arts Troupe - Taiwan
Asawara Dancers - Kuala Lumpur, Malaysia

This year, Philippine International Dance Festival: Dance Xchange 2011 will have the theme "Cultural Connectivity through Dance" and will be held in various venues in Metro Manila.  The festival is part of the celebrations for Philippine National Dance Week, held every last week of April as per Presidential Proclamation No. 154.

The NCCA-National Committee on Dance invites everyone:  dancers, dance educators and teachers, dance moderators/ directors, choreographers, P.E. teachers and supervisors, cultural and tourism officers, festival organizers and dance enthusiasts to come and be part of  Dance Xchange 2011.

Click here for schedules and list of activities.  Call +63-917-529-6946, +63-929-175-5740, +632-527-2214, +63-920-951-4911 or +632-527-2209 or email,,, or

What do you think of this festival? Share your comments.

Who is the director behind Pasyonistas?

An article in the Philippine Daily Inquirer reported on April 20, 2011 Wednesday that "A well-known Filipino comedian and television personality has conceptualized 'Pasyonistas'—a version of the Filipino Pasyon tradition played out entirely on Twitter" and has requested that "his identity be kept secret for the duration of what he called a 'collaborative apocryphal hyperfiction' activity on the popular social networking site."

"The inspiration for the project came from the Royal Shakespeare Company, which last year rolled out a version of Romeo and Juliet on Twitter (  Readers can follow the 'pasyonistas' list on Twitter and on"

"The comedian identified himself on Twitter as @Barabas4ever."  The article goes on to say that this director has "many years of directing theater groups—including an outfit that conducts regular stand-up comedy acts."

Who is he?
Rob Schneider.
(Image from the Interwebs)
I wonder who this "comedian, television personality and theater director" is.

I suspect it's Gabe Mercado of Silly People's Improv Theater and was recently seen onstage as "Didi" in Tangahalang Pilipino's staging of "Zsa Zsa Zaturnnah."

At first, I thought it might be Chris Millado because he's comfortable with English and, from what I know, with online apps.  But he's not a comedian nor television personality.

I also thought about Tim Tayag, who is a "comedian and television personality" and a stand-up comedian, but I don't know if he has "many years of directing theater groups."

In any case, I entered the keywords "filipino," "theater," "comedian," and "director" into Google and got: Rob Schneider!  As of 3 p.m. of April 21 Holy Thursday, @Barabas4ever has 35 followers.

Who do you think the director with "many years of directing theater groups—including an outfit that conducts regular stand-up comedy acts" and a "comedian and television personality" is? Share your comments.

Theaterbatoring PETA's Care Divas

Cast of Care Divas
I wrote an "advancer" for PETA's "Care Divas" a few weeks back:

I finally got a chance to see it and here are some
thoughts on peta's "care divas"
by walter ang
april 18, 2011

there's news that peta's "care divas" will have a new run later this year. the musical revolves around the friendship between the five care divas.  their dream of landing a regular gig as a group is anchored by the story of chelsea and her relationships with her employer/patient (and, of course, her blossoming love interest). two other care divas provide somewhat major subplots while the last two are mostly for comic relief.

overall, i found the pacing a little slow. the material doesn't seem like it should take more than two hours to unfold.

the first act scenes seem to start in fits, though the interweaving expository monologues introducing the care divas as they pass on their "patient/s" to one another is clever. some scenes, like whenever the care divas are in their friend nonah's flat, seem to be written and staged in a way that have slow starts similar to sequences for tv or film, you can almost feel the invisible camera panning for an establishing shot before someone starts talking.

the set design by leo abaya is unwieldy. though it has a clever carved out seating area that doubles as a patient's bathtub, the downstage cross-inclined ramps could have been omitted to concentrate the action onto a more focused space (not to mention to add rows for more audiences).

(i've noticed that directors for peta productions have been staging some scenes on ground level, forgetting that audiences in the orchestra aren't seated on an incline and, therefore, do not have clear sightlines. this happened in their production of "ang post office" a few months ago, too.  during the intermission, a family crept up to the balcony where i was seated, announcing they were tired of craning their necks.)

drag performances naturally involve superfluous showboating, and perhaps that's where it should stay and not conveyed via descending lampposts from the rafters. (even if they're supposed to serve as metaphors for phallic symbols piercing into the care divas' lives).

a sense of identity is one of the obvious and initial themes the text presents: in this story we have men-who-identify-as-women who are strange strangers in a strange land.

director maribel legarda has one actor (paul holme) portraying all the jewish patients of most of the care divas. it's theatrical and fun, we get to see one actor switching several characters on and off. two female roles (israeli mother and isaac's daughter) are also played by one actress.

this reinforces the concept of the "sameness" or "generic-ness" of these "minor" characters.  it tells us that this story is not so much about "them" (the israeli employers/patients) than it is about the care divas, who, in turn, we assume, are the ones usually regarded by the public as "them."

that even if these care divas use gender-bending make-up and costume (whether this is to disguise their true selves or to dress up as their true selves deserve a whole other discussion), they have more solid identities than the "other" characters around them.

one has to wonder, then, what the production is trying to say by having only one caucasian actor and a couple of filipino actors play the non-filipino roles. i realize that it's not easy to cast caucasians in manila, but the color-blind-save-for-one-actor (nothing against holme) set up seems a little off-kilter.

gender and sexuality
contingent to the issue of identity, in this case, are gender and sexuality. and the many shades within their intertwined spectrums.

refreshingly, playwright liza magtoto dumps us right in the middle of the action with none of what-could-have-been stereotypical melodramatic and trite backstories of attempting to explain/justify the hows and whys of the homosexuality or the cross-dressing. (there is actually one backstory that seems awkwardly inserted, but more on that later.)

given the self-identification of the lead characters as women, the text surprisingly harbors a misogynistic streak. the care divas' sole female friend nonah, is, at one point, considered a traitor to their cause. and then there are the mothers.  israeli mother and shai's off-stage voice-over mother are both demonized as the enemy.

kayla is deported and her subplot awkwardly ends there. shai's backstory showcasing her strained relationship with her mother is left awkwardly unresolved. adding to the awkwardness is the way the mother is never present on stage. she's channeled by shai's patient (holme) and then by the care divas-as-greek-chorus-as-mother-as-a-monster.

the device used to present this absent character is good for laughs, but doesn't really seem to serve a point. it explains some of shai's caustic personality, but why is she the only character whose personality has to be explained? and why explained in this manner (mother-as-monster)?

when kayla is deported, the other care divas are unable to help her.  shai does not receive closure for her relationship with her mother (whether seeking acceptance or unilaterally breaking ties), she simply leaves for work in another country.

even when they are double-crossed by the bar owner who hires them, the care divas march on. when chelsea discovers kinks in her potential love relationship (a wonderful twist that layers further and skewers notions of truth / identity / costume / deceit) , she pushes forward.

we are given these recurring awkward endings to the problems that are introduced. in the face of conflict, it seems acceptance, resignation and moving are the only currencies that can be banked on by the care divas in their fleeting, unstable, risk-filled, oppressive world.

thank goodness for acts of kindness from strangers (israeli or otherwise) and friends (filipinos or otherwise) in the strange land. the care divas may sing about being bad girls, get bitchy with each other, and kvetch about their employers, but then these divas really do care: about each other, the people they have to care for, and the people they want to care for.

melvin lee is sterling in his portrayal of chelsea's breakdown when isaac passes away; showing chelsea's hope, grief, longing, and love smashing into each other.

maybe this is the point: hope. perhaps because, despite and in spite of unpredictable awkward endings hanging over the care divas' heads, they know that their minds have to necessarily let go of what can't be changed and their hearts have to grasp at all and any chance at hope, real or illusory.  now if it could all be told in just two hours ... kekeke.

What do you think of this production? Share your comments.

Prague Quadrennial of Performance Design and Space June 16-26, 2011

Prague Quadrennial of Performance Design and Space 2011

The 2011 Prague Quadrennial of Performance Design and Space
- is the largest scenography event in the world - presenting contemporary work in a variety of performance design disciplines and genres - costume, stage, lighting, sound design, and theatre architecture for dance, opera, drama, site specific, multi-media performances, and performance art
- a design exhibition featuring national exhibits from more than 70 countries

- has a wide spectrum of live events – workshops, lectures, performances, discussions and presentations, and provides an in-depth exploration of contemporary theatre and performance design, creating space for meetings and exchange among thousands of performance and theatre professionals, students and spectators
- has three competitive sections – the section of countries and regions, section of theatre architecture and student section.

- will take place at the Veletrzni Palace (the building of the Czech National Gallery) in Prague from June 16 to 26, 2011
- is held every four years, since 1967

- formerly named as Prague Quadrennial International Exhibition of Scenography and Theatre Architecture
- is organized by the Ministry of Culture of the Czech Republic and realized by the Arts and Theatre Institute Prague. It traditionally takes place under the auspices of the president of the Czech Republic and with support of UNESCO and the Prague City Council.

The PQ´11 Philippine working committee head is Rolando M. Deleon (
Complete list of country curators here.

How to Participate

For students
SCENOFEST: Educational project of OISTAT and the Prague Quadrennial
The Scenofest project creates an opportunity for performance design students from all over the world to meet and exchange ideas among themselves and to interact with some of the top professionals in the field through workshops, lectures and performances.

Students can participate to three projects within the Scenofest:
- Six Acts, the central project of Scenofest 2011  – working as part of an ensemble with a leading international artist you will have the opportunity to create a of site-specific performance that will take place in the very heart of Prague. Some of the performances will be spectacular, some intimate but all of them will be unique to the city!

- Design as Performance – a series of indoor performances where we invite you to tell a story through sound and light (Disk Stories) and outdoor performances (Street Stories) created for the streets of Prague.

- Workshops – led by leading international artists and academics, our programme of one and two day workshops in all aspects of performance design and space has space for over 1,500 students.

Here are just two of the many projects at the PQ'11 that have calls for participation:
Call for submission of portfolios (for individual artists)
Individual artists are invited to bring (or send) their paper portfolios to be included in the PQ Portfolio Library – a lounge space with free access to the portfolios and other publications.

Participate in Krétakör´s artistic experiment at the PQ
Krétakör, Hungarian performance and media workshop, is looking for participants to volunteer in a major artistic experiment at the Prague Quadrennial 2011.  The participants will move into the Právo printing house on 9 June and will live there together full time until 24 June.  Participants will be confined together in Právo for 15 days, eating, drinking, sleeping together, and becoming both the creators of the art piece and the art piece in itself.

What do you think of these events? Share your comments.

Senakulo: theater in the streets April 2011

Photo from
In a few days, it will be this year's Holy Week.  I saw some segments from last night's news shows about people preparing for their annual senakulo and thought, "This is theater in the streets!"  The senakulo and related activities are ripe for discussions on street theater, community theater, spiritual theater/performance, performance/performativity, among others.

The senakulo* is a traditional Filipino dramatization of the life and times of Jesus Christ. Done in song (pasyon) and recitation, it is presented in the public squares (1) town plazas, churchyards or in theaters (2).

Companies and community groups perform the senakulo during Holy Week (3).  The play is in three acts - one act presented each night from Holy Wednesday to Good Friday (1)

Although this other article says: It takes at least eight nights - from Palm Sunday to Easter Sunday - to present the play. In urban areas, there are modernized versions of the senakulo that run for only one or two hours. 

I'm not sure if the eight days running time is accurate ... can someone post in the comments section if they have info on this please?

Spectators may range from devotees to the merely curious. For some, it is the time to reflect on the life of Jesus, while others take it as a chance to spend time with family and friends (4chatting and sometimes ogling and cheering their friends and family playing a part (2).

Here are some places that have Senakulos for those of you who are interested in catching one (Please email me if you have info on senakulos and I'll gladly add to this list. You can share photos, too.):
- Makati City (2)
- Mandaluyong City (5)
- Morong, Rizal (1)

Flagellation and nailing to the cross
Then there is how "Philippine devotees re-enact Jesus Christ's suffering ... by pounding their bleeding bare backs with bamboo sticks dangling from ropes in a flagellation rite meant to atone for sins and having themselves nailed to crosses in rites frowned upon by church leaders in Asia's largest predominantly Roman Catholic nation." says this article.
Photo from

It goes on to say, "The yearly tradition has become a tourist attraction, especially in San Fernando's San Pedro Cutud village, which sometimes draws thousands of local and foreign tourists"

Panata versus penitensya
If I'm not mistaken, most people who join senakulos do it as a form of panata (pledge of devotion) while the flagellants and crucifants do it as a form of penitensya (penitence).  Is there such a word as "crucifant"?!

For a less dramatic but still performance-related activity, we have the pabasa, where the pasyon (see below) is sung/chanted.  My best friend from college R.E. is usually part of his family's pabasa every year.  I've never seen/heard his family do it, but he tells me they use a karaoke machine for their needs.

According to this Wikipedia article:
The Pasyon is a narrative of the Passion, Death, and Resurrection of Jesus Christ woven into an epic poem with stanzas of five lines with each line having eight syllables.

The Pasyon is normally heard during Holy Week in the Philippines, where its recitation, known as the Pabása ("Reading") will span several days, extending no later than Black Saturday. Singers will chant the verses of the Pasyon without pause from beginning to end in front of a specially-constructed shrine or altar. This non-stop reading of the Pasyon is facilitated by the chanters working in shifts. Musical accompaniment to its recitation is practised by some though is by no means universal.

I've heard of people using pop-song versions or rap versions for their pabasa to "modernize" the delivery of the pasyon.  But let's dig a little deeper into its past:

The indigenous form of the Pasyon was first set into writing by Gaspar Aquino de Belén in " Ang Mahal na Pasión ni Jesu Christong Panginoon Natin na Tola" ("The Passion of our Lord Jesus Christ that is a Poem"), written in 1703 and approved in 1704.

The more popular version of the Pasyon is the "Casaysayan nang Pasiong Mahal ni Jesucristong Panginoon Natin na Sucat Ipag-alab nang Puso nang Sinomang Babasa" ("The History of the Passion of Jesus Christ our Lord that will surely Set Afire the Heart of Whosoever Reads it").

I just have to say that the English translation of the title is hilarious!

Jesus Christ Superstar
And while not many people might know of this, some music people and theater people in Manila usually try to come up with a performance of Andrew Lloyd Webber's rock-opera "Jesus Christ Superstar" for Holy Week.

From what I understand, it isn't a set thing where it's a done deal every year, but you can occasionally hear news about it if there's going to be one.

I went to one many years ago at Bistro 70s with Cynthia Alexander as Mary Magdalene and Minco Fabregas as Caiaphas.  I don't remember the rest of the cast (alzheimers!).  The bar was crowded and my friend N.Y. and I weaved in and out of the jam-packed bar, trying to get a beer, going to the bathroom and enjoying the show.

The crowd sang along to most of the songs and freaked me out, who knew rocker-types would know the songs to a Broadway musical? A Broadway musical about a religious icon no less!  Hossana-hey!

Photo from
Two (or three? I'm bad with math) years ago, I went to one done at Taumbayan Restaurant.  It was done kind of concert-style with the performers in regular clothes, but if I remember correctly, it was supposed to be an all-female cast: Agot Isidro as Jesus Christ, Bituin Escalante as Judas, and Aiza Seguerra as Mary Magdalene.

N.Y. and I decided to catch this one "for old time's sake" since it had been years since we'd gone to the Bistro 70s one.  The restaurant overflowed with people, so N.Y. and I I hung with a few other friends out at the sidewalk, catching up and drinking beer (on the eve of Easter Sunday!).  Then we went home.

*named after Cenacle.
According to this Wikipedia article, the Cenacle (from Latin cenaculum), also known as the "Upper Room", is the term used for the site of The Last Supper. The word is a derivative of the Latin word cena, which means dinner. In Christian tradition, the "Upper Room" was not only the site of the Last Supper (i.e. the Cenacle), but the usual place where the Apostles stayed in Jerusalem.

What do you think of senakulos? Share your comments.

Joel Trinidad in Defending the Caveman May 6-21, 2011

Announcement from CTE Productions

"Defending the Caveman" will have a rerun on May 6, 7, 13, 14, 20, and 21, 2011 at 8pm at the Carlos Romulo Theater, RCBC Plaza Building, Makati.

Defending the Caveman, the longest running solo one-man show in Broadway history, is a hilariously insightful play about the ways men and women relate.  Couples will roar with laughter and nudge each other as they recognize themselves being described in the play.

Joel  Trinidad stars as the Caveman who will entertain viewers in this one-man show. Trinidad is known for his stints in Avenue Q and Spelling Bee, as a playwright (Breakups and Breakdowns) and founding member of the comedy group "Silly People's Improv Theater" or SPIT.

Stand-up comic Rob Becker wrote Defending the Caveman over a three-year period during which he made an informal study of anthropology, prehistory, psychology, sociology and mythology.  With hilarious  insights on contemporary feminism, masculine sensitivity and the erogenous zones, Defending the Caveman  has found a way to mine the common themes of relationships that goes straight through the funny bone and into the heart.

Defending the Caveman is now a worldwide phenomenon that's won the hearts of millions in over 35 countries in more than 16 different languages and still counting.

Produced by CTE Productions, the production is directed by Michael Williams and Cathy Azanza-Dy.

Contact 2150788, 09175378313 or Tickets also available at Ticketworld (891-9999). Recommended for adult audiences only.

What do you think of this production? Share your comments.

Ma-Yi Theater Company's 22nd Anniversary Gala April 11, 2011

Ma-Yi Theater Company's 22nd Anniversary Gala

Monday, April 11, 2011
Rubin Museum of Art
Featured staged readings of selected scenes from
DOGEATERS by Jessica Hagedorn
M. BUTTERFLY by David Henry Hwang
MICROCRISIS by Michael Lew

VIP Champagne Reception and Private Tour of the Rubin Museum of Art

Performance, Reception with the artists, wine and hors d'oeuvres immediately following the performance

Cocktail Attire

Gala Tickets
$500 VIP Ticket
includes Champagne Reception and Private Tour of the Rubin Museum of Art
Performance, and Reception with the Artists

$300 Individual Ticket
Performance and Reception with the Artists

Unable to attend the gala? 
Make a donation to Ma-Yi instead!

(Ma-Yi Theater Company is a 501 (C) (3) tax-exempt organization, and all contributions are tax deductible to the full extent allowable by law.)

MA-YI Theater Board of Directors
Chair: Etan Merrick
Members: Philippe Agustin, Lydia Benitez-Brown, Christopher Chorengel, Mars Custodio, Ian Darnton-Hill, Jessica Dosch, Steve Litner, George Martel, Jorge Z. Ortoll, Lori Pennay, Francis M. Tayag 

Artistic Director, Ralph B. Peña
Executive Director Jorge Z. Ortoll
520 Eighth Avenue, Suite 309, New York, NY, USA 10018
Tel (212) 971-4862 
Fax (212) 971-4876

Fundraiser for Ballet Philippines' Boston competition delegates April 15, 2011

Announcement from Ballet Philippines

Fundraiser for Ballet Philippines' delegates/competitors
to the 1st Boston International Ballet Competition
April 15, 2011 Friday 8pm
Arts in the City Bldg., Fidel V. Ramos Park,
26th Street, Bonifacio Arts Center,
Bonifacio Global City, Taguig City
Contact 0906-513-0559

Performing at the fundraiser will be delegates Candice Adea (Silver Medalist, USAIBC Competition 2010), Jean Marc Cordero (Semi-Finalist, USAIBC Competition 2010), Cyril Fallar (1st place Winner, NAMCYA Ballet Competition 2010), and Philip Rocamora (3rd Place Winner, NAMCYA Ballet Competition 2007 and 2010).

Flutist Jay Gomez and pianist Katherine Asis will also perform.

The competition in Boston, Massachusetts will be on May 12-16, 2011.

Details about their trip and their solicitation letter can be found here.

Founded in 1969 by Alice Reyes with the support of Eddie Elejar and the Cultural Center of the Philippines, Ballet Philippines (BP) is widely recognized today as a cornerstone of the Filipino cultural identity. As the resident dance company of the Cultural Center of the Philippines, Ballet Philippines is globally recognized as a flagship company in ballet and contemporary dance.

What do you think of this fundraiser? Share your comments.

Auditions for DUP's Rizal X April 28-29, 2011

Announcement from Dulaang UP

who can sing, move and play a musical instrument (16-25 years old) for its production of "Rizal X."

Audition dates:
April 28-29, 2011 5:00pm to 8:00pm (sign up begins at 4:30pm)
Wilfrido Ma. Guerrero Theater, Palma Hall, University of the Philippines

Interested actors are required to:
1. Sing and play a contemporary pop-rock number in English and Tagalog with the musical instrument of their choice (*An upright piano will be available during the audition)
2. Perform a dance or movement piece that will showcase their strength and versatility (classical ballet, contemporary dance, hip-hop, etc.)
3. Read a monologue from the musical
4. Bring their current photo and resume

Contact 0915-191-6384 or add "Rizal X" in Facebook.

Info on Dulaang UP:
Dulaang UP is the official performing group for theater of the University of the Philippines. Dulaang UP is based at the UP Department of Speech Communication and Theater Arts (DSCTA), which runs the sole, formal, theater training program in the country leading to the completion of undergraduate and graduate degrees as well as a certificate course.

It employs the conservatory approach to training where enrollees enjoy maximum guidance in performance and production from scholars, practitioners, leading stage and film artists, and recognized personages in theater.

Under the Dulaang UP umbrella is the UP Playwrights’ Theater which stages original plays by Filipino playwrights. UP Playwrights Theater serves as the venue for new works of prize-winning local playwrights. The plays are staged at the 200-seater Teatro Hermogenes Ylagan (formerly Faculty Center Studio).

Auxiliary to this is Dulaang Laboratoryo which also serves as training ground for Theater Arts students enrolled in their thesis subject as well as in special projects, directing, acting, lighting, production design, and production management courses. Under the supervision of a faculty member, productions are mounted at the end of the semester as a final requirement for the above-mentioned courses.

What do you think of auditions? Share your comments.

Temptation Island remake 2011 and its theater connections

Poster of original movie found on the Interwebs.
I just found out that casting has been announced for the 2011 remake of the classic 1980 movie "Temptation Island" written by Toto Belano and directed by Joey Gosiengfiao.  The movie is about four beauty pageant finalists and four men (plus one maid) who get stranded on an island.
Photo from
The remake will feature Lovi Poe as Suzanne Reyes; Marian Rivera as Azenith Tobias; Solenn Heussaff as Bambi Belisario; and Heart Evangelista as Dina Espinola.  Who are these people?  I don't watch a lot of TV (because I don't have a TV at home, poor me) so I have no idea who they are.  Are they famous?

Poster of the stage version designed by Jason Moss
Stage version
My friend B.L. took me to see the stage version "Temptation Island ... Live!" produced by Madiraka Entertainment production company in 2003 at Tanghalang Huseng Batute, CCP.  In a send up of the campy nature of the movie, the stage version featured male actors in the lead roles: Peter Serrano as Suzanne Reyes; John "Sweet" Lapuz as Azenith Tobias; Raymon Narag as Bambi Belisario; and Tuxqs Rutaquio as Dina Espinola.

Cast of the stage version "Temptation Island ... Live!" From left: John "Sweet" Lapuz as Azenith Tobias; Jonnel Sales as The Maid; Peter Serrano as Suzanne Reyes;  Tuxqs Rutaquio as Dina Espinola and Raymon Narag as Bambi Belisario (photo shared by Tuxqs Rutaquio).

Here is a video excerpt of the stage version.  (Sorry, it's in Tuxqs Rutaquio's Facebook account and I don't know how to upload it here, but you can click the link to get to it.)  This is one of the iconic scenes from the movie, where the ladies are hallucinating about giant chickens and ice cream cones.

Video of the play uploaded to Youtube:

Original movie
I actually saw the stage version before I saw the movie (a copy of which was given to me by advertising producer par excellence M.G.).  I was only three years old when the movie was shown in theaters, so thank goodness for VCDs. The original cast was portrayed by Jennifer Cortez (Suzanne Reyes); Azenith Briones (Azenith Tobias); Bambi Arambulo (Bambi Belisario); and Dina Bonnevie (Dina Espinola).

Funny and scandalous
It is a hilarious movie and to this day, my friend L.H. and I exchange quotes from the movie on our Facebook walls. If you have any friends who were old enough to have seen or know about the movie, talk to them about it and you'll get loads of fun trivia.  For example, how the four lead actresses were actually beauty pageant contestants/winners in real life (Dina Bonnevie was Ms. Magnolia Ice Cream or something) or how Alfie Anido, the actor who played Alfredo, was supposedly murdered by the family of the girl he was seeing.

On the left: Jonas Sebastian as Joshua in the movie. On the right: Rolando Tinio, who is not in the movie.
The mistaken identity of the theater director who is in the movie
In the movie, many people mistake the actor playing the role of Joshua as theater director Rolando Tinio. The actor who portrayed the role is actually another theater director: Jonas Sebastian. I used to watch the plays he directed for the defunct Bankcard series of free plays in Makati City.

Photo of Martinez from
The playwright and theater director who will direct the movie
The remake is being produced by Regal Films.  Chris Martinez will do the rewrite and will direct. He directed the stage version as well.  Martinez is known for writing the script of the hit comedy movie "Kimi Dora" (where he pays homage to "Temptation Island" with lots of inside jokes, lines and character histories).

Martinez has written the stage adaptation of Carlo Vergara's "Zsa Zsa Zaturnnah, Ze Muzikal" and has won Palanca Awards for his other plays "Last Order sa Penguin" (1st prize, 2001), "Welcome to IntelStar" (3rd prize, 2005), and "Our Lady of Arlegui" (1st prize, 2007).

I've seen "Our Lady of Arlegui" directed by Dennis Marasigan with Shamaine Centenera-Buencamino and Abner Delina acting; a funny, touching scenario between a Muslim woman who sells pirated DVDs and a young film lover in search of an elusive title.

I haven't seen "Last Order" and "Welcome to IntelStar" but I've read the scripts and they are hilarious. I wish a theater group would restage these two plays so I can finally watch them.

Were you able to see the stage version of "Temptation Island" or any of Chris Martinez's plays? Share your comments.

Asian Arts Freedom School's Passports and Playwriting April 6, 2011

Image from InterWebs

Announcement from Asian Arts Freedom School

What does the history of the passport and plays and monologues have in common? 

This week's Asian Arts Freedom School workshop is "Passports and Playwriting"
April 6 Wednesday 6:00pm - 8:30pm
Kapisanan Philippine Centre, 167 Augusta Ave in Kensington Market, Toronto, ON

We’ll be exploring some of the histories of how and why this document was created and developed into a central identifier of national citizenship, as well as something with the ability to police and regulate people’s movement and freedom.

We’ll have the chance to work on, share and develop skills in dramatic writing through exploring our thoughts and responses to this history and its consequences. Got something to say? Come to Freedom School to be heard.

The Asian Arts Freedom School is an art-based radical Asian history and activism program for Asian/Pacific Islander youth in the Greater Toronto Area. Asian = South Asian, West Asian (a.k.a. Arab or Middle-Eastern), Southeast Asian, East Asian, and Central Asian, Pacific Islander, diasporic via the Caribbean and Africa...mixed-race, adoptee, suburban, hood...just got here or been here since the 1800s. Asian stretches from the Phillippines to Palestine, North China to Sri Lanka, Trinidad to Tibet, and all of it ends up in Toronto. We cover various artforms including writing, spoken word, music, visual arts, film, breakdancing, theatre and modern dance.

The Asian Arts Freedom School is supported by grants from Artreach Toronto, Toronto Arts Council, the City of Toronto and the Ontario Arts Council, agency of the Government of Ontario.

Summer theater workshops 2011

Yay! My round-up of the summer workshops of theater companies was published today in the Philippine Daily Inquirer.
Summer theater workshops
By Walter Ang

“What’s most rewarding about our annual summer workshop is witnessing the process of transformation that happens to the workshoppers,” says Gantimpala Theater Foundation founder and artistic director Tony Espejo.

From shy and inhibited young boys and girls, they learn to 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 instill a love and respect for theater with them.”

Gantimpala is just one of many theater companies that are holding acting workshops this summer (see listing below).  Workshops are available for children, teens and adults.  Most groups have children’s and teens’ classes during the daytime and adult’s classes during the evenings.  All workshops usually end with a recital.

Aside from learning the craft of expression, children gain social interaction skills while teenagers and adults get their foot in the door should they decide to pursue careers in the industry.  There are usually no requirements in terms of acting or workshop experience; just a desire to learn (or a parent who will force you to join to help you improve your self confidence) will do. 

While syllabi differ from group to group, basic acting classes for kids usually use games to teach enhancement of the senses and to improve focus, concentration, observation, and, most importantly, to build confidence.  The games help students with coordination, agility, self-reliance and experiencing the importance of teamwork.

Teens and adults usually have lectures and exercises on spontaneity, improvisation, body and voice work, and script analysis, among others.  Beyond basic acting, some companies offer musical theater training as a separate workshop.

A few tips
Enrollment: Bring your own pen to save time. Have photocopies of either a school/company ID or birth certificate, just in case. Some groups ask for one or two ID photos. Have 2x2 prints made; it’s easier to cut down to 1x1 if needed.

Fees: Just so that there are no surprises later on, ask if recital fees are separate or included in the tuition.  Remember, there might be additional costs for photocopying of scripts, merienda for rehearsals, costumes for the recital, etc.

Discounts/payment terms: It depends on the group, don’t be afraid to ask, the worst thing that can happen is that they’ll say “no.”  It’s a long shot, but if you feel you have talent, consider writing a letter to the group’s artistic director to inquire about auditioning for a scholarship.

Security: Get the name and cellphone number of not just your child’s teacher, but also at least one office staff.

Caveat emptor: Research and ask about what you’ll get.  Be sure to know the credentials of the company that is giving the workshop, ask around for referrals, ask about the backgrounds of the instructors.  Don’t rely on just your children to tell you about their recital schedule, call the office to double check when it will be so that you won’t miss out.

Special classes
Tanghalang Pilipino, CCP’s resident theater group, will have a Rehearsal and Performance Techniques workshop for students with prior acting experience.  Classes will focus on movement, voice, text and character analysis, and improvisation.

Repertory Philippines will hold special classes:
Shakespeare for Kids
For students aged 9 to 16. It will include a brief history of the life and times of William Shakespeare. Students will find out if his father was really an official beer taster and how Shakespeare wrote 42 plays in 15 years with only a grammar school education.  The course will give students tools to better understand and appreciate the Bard’s works.  It will conclude with a scene and monologue night.

Movement for the actor
For professional and student actors. Using dance and rhythmic movements, students will train their bodies to express a fuller range of physical emotion. Work will be done on breathing, posture, alignment, agility, flexibility and the overall strength.

Students will be taught movement techniques created by Rudolf Laban, a tool used by dancers, athletes, physical and occupational therapists—one of the most widely used systems of human movement analysis.  The class will also include a beginner stage combat course; staged sword-fights, fist-fights, slaps, punches and pratfalls will all be covered.

Acting Master Class (audition required)
For actors with professional experience in stage, television and/or film, a Master Class will be taught by Pinky Amador and Bill Atwood.

Students will be coached one-on-one on aspects such as vocal improvement, physicality and actor’s movement, audition techniques, choosing audition pieces, rehearsal and performance techniques, for all mediums for both the local and international market.

Amador has 24 years of non-stop work experience as an actress, singer, host, model and dancer both in the Philippines and England. Bill Atwood has 30 years of teaching experience and has taught at American Academy of Dramatic Arts in New York.

Non-acting classes
As theater practitioners know, a show doesn’t always need a lot of actors, but a show will always need backstage staff.  For students 18 years old and above who want to learn the ropes of running a show, Tanghalang Pilipino will have an Event Production and Stage Management workshop.

Philippine Educational Theater Association (Peta) will have one-day lectures on Stage Management, Technical Theater and Make-up for Theater; and half-day lectures on Music Appreciation, Song Writing, and Choreography.

It will also offer week-long workshops on Visual Arts for Young People and Theater in Education for educators and teachers.

My Talent will have courses in modeling, street dancing, drawing and other art forms.  Audie Gemora, known to theater audiences for his acting and directing and known to television audiences for his stint as a judge in the show Talentadong Pinoy, will teach Pop Concert Performance for students who want to learn how to become concert /recording artists.

Sipat Lawin Ensemble has week-long or month-long workshops in Directing for Teens and Adults; Production Design and Technical Theatre) and storytelling.

Where to go, who to call 
[The editors added two campus-based groups in the published version which I have removed in this blog version in keeping with my original working criteria to include only the more established/known professional/commercial groups just to keep it fair to all the other campus groups.]

You can also call your nearby schools, churches, barangay halls/centers, village associations, etc. to see if they are offering any theater workshops.

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.

9Works Theatrical
Dates: April 11 to May 29, 2011
Contact: 09175545560; 5867105; 557.5860;
Office: Ortigas Center, Pasig City
workshop venue: Rockwell Center, Makati City

Gantimpala Theater Foundation
Dates: April 25 to May 28, 2011
Contact: 5280603, 5365860 and 09215286308.
Office and workshop venue: Rizal Park (Luneta), Manila City

My Talent Place by Audie Gemora
Dates: March 28 onwards
Contact: 3590497; 5713485; 09225916060; 09273159994; 09228764772;
Office and workshop venue: Eastwood City, Quezon City

New Voice Company
Dates: No workshops scheduled thus far, but call to confirm
Contact: 8965497; 896-6695;
Office: Makati City

Philippine Educational Theater Association (Peta)
Dates: April 13-May14
Contact: 7256244; 4100821; 09175769339;
Office and workshop venue: New Manila, Quezon City

Repertory Philippines
Dates: April 4 to May 20
Contact: 5716926; 5714941;
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): Ortigas Center; Pasig City; and Makati City

Sipat Lawin Ensemble
Dates: No set schedules thus far, call to confirm
Contact: 09175008753; 9645969;
Workshop venue: the group can go to your venue

Tanghalang Pilipino
Dates: April 5-9, 12-16, 26-30
Contact: 8323661; 8321125 loc. 1620 and 1621;
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.

Triumphant Peoples Evangelistic Theatre Society (Trumpets)
Dates: April 4-May 31
Contact: 6317252; 6362842; 3816635; 0917896 4034;
Workshop venue(s): Podium Mall, Mandaluyong City; Bonifacio Global City, Taguig City; and Alabang Town Center, Muntinlupa City.

Cebu City: Little Boy Productions
Workshop dates: May 2-20
Contact: 2549320 or 4158058

Also published online:

What do you think of theater workshops? Have you attended one before? Are you planning on attending one? Share your comments.

Tanghalang Pilipino's Actors Company's Pagkakataon April 1, 2011

Tanghalang Pilipino's Actors Company will have its acting recital titled "Pagkakataon" on April 1, 2011 7pm at the CCP Bulwagang Amado Hernandez. Contact 09323532499 for ticket price information and other details.

Kat Castillo and Gino Ramirez
in May Isang Sundalo by Rene Villanueva

Martha Comia and Chic San Agustin
in Las Viajeras by Joi Barrios

Dan de Guzman, Reg de Vera and Marco Viaña
in Tatlong Ulupong by Wilfrido Ma. Guerrero

The AC is the resident pool of actors of TP and they are given continuous training in voice, acting and dance on top of their acting duties for the company.  This recital culminates classs under Mailes Kanapi.

According to Dennis Marasigan (former TP artistic director) in his 2007 blog post:
"The Actors Company was created by Tanghalang Pilipino's founding Artistic Director Nonon Padilla as the main acting company for the season productions at the CCP. Among the first members were Fernando Josef, Connie Chua, Alan Bautista, Shamaine Centenera and Nonie Buencamino, and Len Ag. Santos. Later, they were joined/replaced by Irma Adlawan, John Arcilla, RJ Leyran, Olga Natividad, Gary Lim, Allan Paule, Herbie Go, Marisa Tinsay, and Angela Garcia (Altomonte), some of whom stayed with the company for as long as eight years. Herbie went on to become Associate Artistic Director and until recently, Artistic Director of Tanghalang Pilipino. More recent members include Tess Jamias, Paolo O'Hara, Jay Espano, Catherine Racsag, George de Jesus III, Roeder Camanag, Joey Paras, Nazer Salcedo, and Marj Lorico.

The usual route for Actors Company members is for them to come in as Scholars first, moving up to become Apprentices, then Members. From the time they become Scholars, they are required/privileged to attend classes in acting, stage movement, voice, script analysis, and other special courses offered -- martial arts and directing have been offered more than once in the past. It is therefore imperative that those who would like to become Members must have the time to devote to the classes and to the rehearsals of plays for the company's season productions throughout the year. Actors Company Members, Apprentices, and Scholars receive allowances and fees for their association with the Company."

What do you think of this recital? Share your comments.