Tag Archives: Red Turnip Theater

kultura

The failure of capture

At the heart of Time Stands Still (written by Donald Margulies) is the crisis of capture, the kind that’s familiar to anyone who engages with more difficult, more violent, more painful current events in order to present these as honestly as possible, without intervening in its story, and in order to do justice to its telling.

Photo-journalist Sarah (Ana Abad Santos) and journalist James (Nonie Buencamino) have gained acclaim and credibility for doing work on conflict-torn territories in the Middle East. Working as individuals together, they find themselves victims of the stories that they follow. James had gone home ahead of Sarah, traumatized by having witnessed a bomb explosion before his eyes. He would soon enough find himself picking Sarah up from a hospital in Germany after she falls victim to a bombing herself. She is in a coma for weeks, and wakes up to a broken leg and scarred face.

The couple comes home to their staid apartment in America, the war they came from now the backdrop of their story, as it is the context of the relationship that is in the throes of individual trauma. It is a relationship that can now be viewed without the urgency of elsewhere. Or so they think.

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kultura

rising to the occasion: on “Cock” and the text as king

My refusal to compare foreign texts with local ones is based on the notion of independence. That is, I’d rather grant a local work with as much individuality as possible, and save it from what — to me — would be a false because unfair comparison with foreign work that I (on most counts) would not have seen anyway.

I imagine I can be criticized for having such tunnel vision, or allowing local theater such leeway when critiquing its adaptations. And yet this is really more about my limitation as a writer: I will not pretend to know what the foreign stagings look like when all I’ve seen are clips of these on YouTube. I’d also like to think that much might be gained from acknowledging these limitations and working with nothing but the play in front of me and my intertextuality.

Cock poster via Red Turnip Theater.

The years  (limited as it is) have provided me with a sense of these limitations. With nary the budget for the grandness of musicales, and sometimes the lack of imagination for sets that actually work, what we do always have and consistently is the talent.

And then of course, there is Cock.

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kultura

the unedited “Closer” review

NOTE: a version of this review was published in GMA News Online, which begins with a scary em dash that lists down the writer, director, lighting designer and set designer with no explanation as to why, and which uses the word “comparability” — that i never EVER use, because it sounds like … a word Rappler would use (haha!). (more…)