portrayal

The diplomatic spat is rooted in the ongoing dispute between China and the Philippines over sovereignty in the South China Sea.

The Philippines has lodged a diplomatic protest with China over what it called the “racist depiction” of Filipinos in a series of videos published by state-backed newspaper China Daily.

The videos, which depicted Filipinos as monkeys, went “beyond political debate” and resorted to “demeaning, dehumanizing, and racist depictions of Filipinos,” the Department of Foreign Affairs said in a statement on Friday.

Foreign Affairs Undersecretary Maria Theresa Lazaro raised the issue directly with China’s ambassador to the country, while the department also lodged a formal diplomatic protest condemning the videos.

Its embassy in Beijing separately published an open letter addressed to the editor of China Daily, flagging the outlet for “breach of editorial norms and principles”, and urging the publication to “uphold dignity, respect, and truth” in public discourse.

China Daily describes itself as China’s most-read English-language newspaper. It claims a combined audience of more than 470 million people. It has more than 110 million followers on Facebook, where the videos were shared.

The videos were published as part of a series marking the 10th anniversary of the 2016 South China Sea arbitral award, in which an international tribunal ruled overwhelmingly in favour of the Philippines and found that China’s sweeping claims in the South China Sea had no legal basis under international law.

Beijing has rejected the ruling and continues to assert sovereignty over most of the South China Sea, where tensions have remained high.

The dispute centres on features including the Spratly Islands and Scarborough Shoal, both of which are claimed by China and the Philippines.

The South China Sea is estimated to have 11 billion barrels of untapped oil and 190 trillion cubic feet of natural gas.

The dispute has led to repeated confrontations between Chinese coastguard vessels and Philippine ships, including collisions and the use of water cannon that Manila says have endangered its personnel and fishermen.

The Philippines has received diplomatic backing from the United States and other allies including Germany, Japan and the United Kingdom, which have repeatedly called for respect for the 2016 arbitral ruling.

In a joint statement released this month, the countries reaffirmed their support for what they described as the tribunal’s “legally binding” and “definitive” findings and warned against “unilateral actions including by force or coercion that threaten peace and stability in the region”.

China’s Ministry of Foreign Affairs and China Daily had not publicly responded to the Philippine protest at the time of publication.

The 79th Tony Awards telecast kicked off with a bang by giving out two major awards in the first 30 minutes — and before viewers could blink both John Lithgow and Laurie Metcalf had each won the third Tony Award of their careers.

Lithgow won best performance by an actor in a leading role in a play for his portrayal of the controversial, beloved British author Roald Dahl in Mark Rosenblatt’s poignant drama “Giant,” directed by Nicholas Hytner. Times theater critic Charles McNulty called Lithgow’s performance “at once terrifying and never anything less than human,” and “one of the bravest” of the Broadway season.

Lithogow’s win, however, was far from assured. He was in the running against Nathan Lane in the season’s most talk-about show’s “Death of a Salesman,” and many bets were surely placed on the latter to sweep.

Lithogow is among a cadre of accomplished film and television actors who have a deep love of the stage. His first Tony win came for best featured actor in a play for his 1972 Broadway debut in “The Changing Room.” His second came 30 years later in 2002 when he he won for best actor in a musical for “Sweet Smell of Success.”

Metcalf won best featured actress for her portrayal of Willie Loman’s protective wife, Linda Loman, in “Death of a Salesman.” This is Metcalf’s third win in less than a decade, and was not a surprise as she has inherited “Helen Hayes’ mantle of First Lady of the American Theater,” according to McNulty.

Perhaps that explains her perfunctory, somewhat rote speech — which still didn’t detract from the joy of her win. Viewers know a towering talent when they see one.

Lithgow, to the contrary, was clearly stunned — and deeply honored.

“I’ve had dozens and dozens of static, ecstatic moments on stage, but I have to tell you right now, this moment has got to be one of the best,” he said as he held his award.

The show that has had everyone clamoring for tickets this spring, Joe Mantello’s cobweb-clearing production of Arthur Miller’s “Death of a Salesman,” won, as expected, for best revival.

Mantello, who received a Tony for his direction (his third such award), swept away the cliches that have accumulated around this American classic to reveal a “Salesman” like none we’ve experienced before. The Loman family home isn’t depicted in a literal fashion but instead fluidly suggested in a warehouse space that allows the actors to move unfetteredly between past and present. (The physical production was honored with awards for Mikaal Sulaiman’s sound design, Jack Knowles’ lighting and Chloe Lamford’s scenic design.)

Laurie Metcalf, confirming her standing as the First Lady of the American Theater, won for her portrayal of Linda Loman, a more formidable than usual interpretation of Willy’s stalwart wife. Metcalf, who endowed her characterization with a sharp-edged autonomy and transfixing gravitas, added another Tony to her two previous acting wins (“Three Tall Women,” “A Doll’s House, Part II”).

Joe Mantello wins the Tony for his direction of “Death of a Salesman.”

(Evelyn Freja / For The Times)

Nathan Lane was in a tight race with John Lithgow, who won for his ruthlessly uncompromising portrayal of a wrathful and dyspeptic Roald Dahl in Mark Rosenblatt’s “Giant.” Lane’s Willy leaves a lasting memory in “Salesman,” but it would be hard to imagine “Giant” having the same impact without Lithgow, who provides a terrifying human foundation to this explosive play about a writer’s political commitments tipping over into toxic antisemitism. (The performance slips into a sinkhole of animus in the uncanny way of one of Dahl’s recognizably terrifying, psychologically plausible stories.) In his almost but not quite valedictory acceptance speech, the 80-year-old Lithgow acknowledged that this Tony win, his third, comes 53 years after his first — and feels every bit as satisfying.

Aya Cash and John Lithgow in “Giant.”

(Joan Marcus)

Rather than a slight to Lane, Lithgow’s win is a sign of the dramatic depth that characterized this otherwise squirrely season. Indeed, Lithgow’s performance was as thrilling to experience as that of British powerhouse Lesley Manville, who won for her portrayal of Jocasta in Robert Icke’s modern reworking of “Oedipus.” The play was categorized by the Tony committee as a revival, but it’s really an original drama — one that gave rise to one of the most enthralling productions of the year.

In a season lifted up by Bess Wohl’s magnificent “Liberation” and capacious enough to include a first-rate “Salesman,” a searing “Oedipus” and a smartly contentious “Giant,” it should be no surprise that there were more great performances than statuettes to dole out.