“The premise of the story is in itself funny, if morbid: two docile, eccentric old ladies living in an old house are discovered by their nephew, Mortimer (Nel Gomez), to be casual murderers–offering elderberry wine laced with arsenic to unsuspecting, lonely old men and afterwards burying them in the basement.”

It’s been over twenty years, and Julie Taymor’s fully realized theatrical version of The Lion King remains fresh, innovative, experimental, and frankly, unlike anything that’s ever been done before (or since). Two visible percussionists on either side of the stage start the beat, Rafiki (Ntsepa Pitjeng) walks in and sings that iconic “Nants Ingonyama!” that …

“Kinky Boots” is returning! Find out what to look forward to in the rerun!

“Ed Lacson Jr. stays faithful to how Filipino this story is, forgoing the usual accoutrements that accompany Western musicals.”

“Perhaps Norman’s play–originally written in the 80s–continues to be relevant, but Lomongo’s adaptation contemporising it to present day Philippines is what makes the material truly resonant.”

“It’s a screwball comedy, a farce, but Miguel Faustmann directs the material with a necessary precision that keeps the misunderstandings comedic, but never confusing.”

This is not the first time our country’s president is likened to a Shakespearean tyrant (nor will it be the last), but the Anton Juan and Ricardo Abad-directed “RD3RD” is certainly the most overt, coming off as a dissertation of sorts, a reading of Rodrigo Duterte as Richard III. In Shakespeare, Richard III rises through …

“Lynn Ahrens and Mike Ockrent’s book is a straightforward depiction of its source material, and Robbie Guevara directs it with just as much clarity and family-friendly joy.”