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Exclusive: Jake Cuenca Talks About His Career and LUNGS: 'It's A Reflection Of Myself'

At 30, Filipino actor and model Jake Cuenca, who's been acting on film and TV since the age of 10, is trying his hands at acting onstage for the first time via 'Lungs,' a straight play written by Duncan MacMillan and was based on a novel of the same name. The play is co-produced by The Sandbox Collective and 9 Works Theatrical.
Photo Flash: De La Salle University Restages A FIRE IN THE SOUL

The De La Salle Brothers, Roman Catholic religious brothers who dedicate their lives to educating young people, recently celebrated the centennial anniversary of De La Salle University (DLSU) in the Philippines, and commemorated their colleagues who were killed by Japanese soldiers in World War II via the restaging of the cantata (a vocal chamber work) A FIRE IN THE SOUL, which features libretto by Vicente Groyon III, music by Von de Guzman, and direction by Peque Gallaga.
De La Salle University Restages A FIRE IN THE SOUL, 2/27

Before moving to New York, I taught public relations courses at De La Salle University (DLSU-Manila) Department of Communication, where I also pursued studies in organizational communication and applied media. My alma mater turns 100 this year; and, I'm encouraging you to take part in its year-long celebration. Catching the restaging of the cantata (a vocal chamber work)A FIRE IN THE SOUL, featuring libretto by Vicente Groyon III, music by Von de Guzman, and direction by Peque Gallaga, at DLSU's Teresa Yuchengco Auditorium, 7F Don Enrique T. Yuchengco Hall on Monday, February 27, 8 p.m. would be greatly appreciated.
Cherie Gil: MASTER CLASS Is Tougher Than DOUBT

On its tenth anniversary, the Philippine Opera Company ('La Boheme', 'Harana') brings back its critically acclaimed production of Terrence McNally's 1996 Tony award-winning play 'Master Class', starring Philippine cinema icon Ms. Gil in the role of the opera world's grand dame Maria Callas (1923-1977). Presented in a master class format, the straight play explores what could have transpired inside the opera's classroom with Callas at the Juilliard 1971-72, at the time when the dramatic soprano had already lost her voice.

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