The Renaissance of Musical Theater in the Philippines: Will It Last?

By Thomas Hill

Filipinos, by tradition, are great fans of both music and good storytelling. The appreciation of the latter may not be as evident as the former, but that's only because it's yet to be given a chance to grow in the minds of the new generation. Fortunately, young people may be getting that long-awaited chance with the current resurgence of musicals in the country.

The past few years have seen classic and well-beloved musicals such as "Cats," "Wicked," "Phantom of the Opera" and "Chicago" finally made their way to our shores. The arrival of these Broadway musicals was greeted with enthusiastic sold-out performances that surprised even the organizers. It's because of this warm welcome that more mega-shows such as "Les Miserables" and "Jersey Boys" are set for an appearance on the Philippine musical calendar.

The Impending Curtain on Philippine Theater

There are several reasons why having such shows on Philippine shores were nothing but a pipe dream just a few short years ago. Primary among them was the lack of venues to appropriately host such events, as well as the cost of entrance that kept most audiences away.

The lack of suitable venues created a virtual bottleneck wherein both host and show needed to be sure beyond any shadow of a doubt that there would be a return on investment. This not only meant less shows, but more expensive ones.

Fears of small audiences, coupled with poor exchange rates, raised ticket prices to astronomic levels, scaring away a considerable chunk of theater enthusiasts. This circular dilemma plagued the Philippine theater industry for many years, and didn't have an immediately obvious solution. Fortunately, the rise of premier entertainment locations such as The Theatre at Solaire was able to solve both conundrums at once.

Building Stages and Credibility

Originally, the purpose of such centers was to expand and capitalize on the gaming industry that was feeling constricted as Asian high rollers were looking for new places to play. The wisdom, however, of expanding the attractions of such establishments beyond that purpose had the foresight of taking ownership of entertainment as a whole.

The opening of such entertainment centers caused a domino effect that led to the musical renaissance we are experiencing today. More big venues meant a more relaxed margin of error for everyone in the industry, allowing them to become bolder in accepting with less known and more experimental shows. Local productions such as "Zsa Zsa Zaturnnah," "Noli at Fili," "Kung Paano Ako Naging Leading Lady" and "Rak of Aegis" made it to the stage to critical acclaim from both casual and hardcore audiences because of the more accepting attitude within the industry.

Preserving the Renaissance

The traditional trepidation that international companies had in making Manila one of the stops of their Asian tours is long gone, and local theater fans are making the most of this opportunity. Many people see such events as the only chances they would get to see their favorite shows. All anyone needs to do is listen to the joyful applause at the end of each act to know how much it means for every person in those seats to get the chance to be part of the audience.

There's no telling how long such a period of musical appreciation will last. Keeping this resurgence going for as long as possible is the goal for now, and there are two very exciting ways to do that. The first is to keep inviting big-ticket shows to the country that are sure to attract sold-out crowds every night. This will ensure that the industry will keep attracting new fans, and inspire local talent to reach the same quality of performance and story.

The only problem with this approach is that it's a very in-the-moment solution. There are only a finite number of show venues that can keep inviting every year. There needs to be new material to keep audiences excited and looking towards the future. The second way is directly related to the cultivation and inspiration of local talent to gain recognition--not just here, but on the international scene as well.

Having fellow Filipinos on the world stage is the biggest justification for the investment of entertainment in the country, and will only enrich the local theater scene even more. This is a more sustainable method of preserving this new musical age, and even usher in a golden time for the performing arts the country has yet to see. Fortunately, there are already big steps being taken in this regard as Filipino talent continues to turn heads around the world.

The New Generation

The only talent the country had to claim until recent years had been Lea Salonga, and though she's one of the biggest names in theater history, she's simply not enough. The good news is that the world seems to have found her successor in Rachelle Ann Go. The singer has already won the Best Supporting Actress at the WhatsOnStage Awards for her portrayal of Gigi Van Trahn in the West End revival of "Miss Saigon." Her path is only beginning, though, as her next project is the emotional role of Fantine in next year's "Les Miserables" in Manila.

Unlike Lea's rise, however, Rachelle's star might not be without company as another performer--in the form of Bibo Reyes--might be on his way to the top as well. Bibo made waves in his debut performance as Sonny in the award-winning musical "In The Heights" back in 2012. He has since starred in the Manila production of "Rock of Ages" and the Singapore production of "Avenue Q." His latest project is the Asian tour of "Saturday Night Fever."

The future of Philippine theater is a bright one, but only if the industry as hosts and we as an audience make the right moves to make it happen. It shouldn't take much effort to take this renaissance and turn it into a Golden Age for the performing arts.

Thomas is a blogger, online marketer and traveler who enjoys life. When he's not writing or working at his laptop, he is watching TV or roaming around. He loves writing about technology and having open discussions on Facebook.

Photos: Lea Salonga plays Grizabella in "Cats" in 2010; Philippine Educational Theater Association's hit musical "Rak of Aegis"; and Rachelle Ann Go plays Fantine in the West End production of "Les Miserables."

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