Tag Archives: Repertory Philippines

was it fun? yes. was it funny? absolutely. but also it banks on layer upon layer of intertextuality. you need to know some Shakespeare to have a sense of how absurd it is that these two actors Leo and Jack are in Amish country performing two-man-excerpts. you need to have a sense of the context that is York, as old and rich and conservative suburban community so you’d know how while Meg is a woman who knows of a bigger world, she stays put and is engaged to be married to the minister. you need to have a sense of how this small cast and its dynamism is premised on 1950s America and its changing cultural landscape, where a family doctor, an aunt Florence who refuses to die, and the most random of bimbos on that stage are but symptoms.

of course without banking on all of these, Repertory Philippines’ Leading Ladies would still be that funny play about cross-dressing British men. but appreciating it as such would be to think this nothing but a 1980s Roderick Paulate movie. (more…)

It’s easy to dismiss “Next Fall” by Geoffrey Nauffts as another gay play, as another one of those that romanticize the narrative of love that is different, because it’s not heterosexual. But that would be to miss out entirely on what else is unfolding in front of you as spectator, it would be to miss out on the nuances that’s in the rest of this narrative’s necessary transformation of the ways in which we might view homosexuality on the one hand, religion on the other, love across the board. (more…)

A text like Peter Pan banks on wonder, given an audience of children who would be overwhelmed by the idea of flight. But it also banks on an adult audience that can go back to an amount of youthful innocence, given the familiar. Of course this familiarity can also be this text’s undoing, owing to its many versions, some more iconic than others (think Robin Williams as Peter). Any staging / rendering / version then can only really be successful in light of this kind of intertextuality: an audience will bring to this text everything – big or small, major or minor – that they know about the text. And it’s entirely possible that in the end this will only mean a harsh judgment of the version that unfolds in front of them.

Or not. Repertory Philippines’ Peter Pan, A Musical Adventure is difficult to put down, even when you’re a jaded adult. Of course it could’ve just been me, ready as I was to be fascinated by the flying this production was treating the audience to. But there were other things here that were wonderful too, if not surprisingly seamlessly done by the production.

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