Gone are the days of only belt-happy theater kids showing their love for the musical and dramatic arts, where its penetration into mainstream Philippine media resulted in more seats being filled at performance halls and auditoriums. While many are quick to cite Broadway hits like Hamilton’s Manila tour stop or the recent silver screening of Wicked for this uptick in interest, local productions like Ang Huling El Bimbo and Bar Boys: The Musical have undeniably drawn mass audiences—blending the grandiosity of musical theater with the familiarity of Filipino pop culture.
At face value, one might consider profit as the main motivator for this trend; producers have long been tempted to piggyback off proven-and-tested pieces, after all. But the integration of pop culture into musical theater reveals something deeper about the once-neglected industry. “For the longest time, the theater industry had a hard time inviting audiences,” says Department of Literature Professor Ina Abuan. “They can [finally] celebrate because there are people to celebrate with… Finally, [they are] showcasing Filipino life stories in the form of theater.”
Bursting into song
Filipinos possess a natural inclination to music and singing, making the rise of the industry seem almost inevitable. Jukebox musicals of beloved OPM tracks have stoked the appeal of the industry. Abuan, who herself wrote critically acclaimed 2013 musical Sa Wakas based on the discography of OPM band Sugarfree, raves about the novelty of seeing radio hits and videoke classics performed on a stage production: “Who would’ve thought that you’d get to watch the music that you love have a different life [from how] you [usually] enjoy it?”
Yet a musical is more than just its soundtrack—it is also the story that is weaved through its lyrics and melodies. Compared to Broadway and West End musicals, local productions have the novel opportunity to witness and bear uniquely Filipino stories. Theater artist Jam Binay highlights the deeper connection we have with pieces that ring true to our culture. “When you’re doing an original Filipino work, it’s very close to you. Because it’s your everyday experience therein as a Filipino,” she explains.
The touch of Filipino sensibility to musicals is also an avenue for national representation. Gabriela Pascua (II, AB-POM) shares that visibility in local theater is especially distinctive from other western media, as “on our own, in our own country, we get to see ourselves portrayed in the Filipino context by Filipino actors.” This aligns with the gentle shift in theatrical storytelling, where “a lot more care [is put] in the way these characters are built,” Binay adds, acknowledging the industry’s gradual move away from one-dimensional stereotypes.
Behind the curtain
Despite the growing enthusiasm for local theater, the industry’s future still lies in the consistent introduction of novel work that champions Filipino thought—all while making it accessible to the masses. While the love for music may be mainstream, production costs and audience fees still pose a substantial hurdle. From unaffordable ticket prices to high casting, costumes, and equipment bills, the art form has proven to be expensive both for its consumers and producers.
A backstage issue exists between local theater and its potential audiences and performers who do not have access to the industry. “I feel like there’s an undiscovered Lea Salonga somewhere, and she’s probably studying nursing… She had dreamt of singing for a living, but economics won’t allow it, right?” Pascua ponders, highlighting how unrealized talents are often hindered by their lack of resources and connections. After all, prestigious art schools are not practical options for everyone. In the same way that a P700 entry-level ticket may be too costly of a purchase for a minimum-wage earner, a performing arts career dependent on skill and fame may be too much of a risk for the common Filipino folk.
These are not the only intermissions hindering the exponential growth of theater in the Philippines. Despite the recent surge of interest among thespians, Abuan warns about the risk of oversaturation within the industry. The rise of jukebox musicals in the local scene may have sparked a fire of excitement, but there is always a possibility that the flame may burn out.
“The industry [may] get comfortable with what they’re offering, so it should still be progressive in terms of storytelling,” Abuan explains, calling for greater variety in future local productions. When the audience gravitates toward a common theme that rigidly caters to their preferences, the industry risks stagnation, limiting the potential for progressive and innovative storytelling.
A coming of age
In spite of the challenges, Philippine musical theater continues its awe-inspiring work as it reaches wider audiences. Boosted by social media, local theater has grown into an art form that is indelibly infused with the Filipino experience.
With stories and music that are redolent of the values we best identify with, musicals produced by homegrown artists are what have completely enraptured Filipinos. Theater—being the most social of all art forms—has been shaped through the collaborative work of dedicated creators who compose as a means of escape and reflection, bringing out our native tongue for storytelling. Struggles with its accessibility exist, but its slow yet definite resolve through zealous thespians and showgoers proves that the growing fondness for theater in the local scene persists.
As music is its primary storyteller, Philippine musical theater has evolved into a beautiful odyssey that evocatively sings tales of delight, vulnerability, and truths intertwined with experiences common to everyone. As Binay passionately describes, “Singing and performance [are] ingrained in our culture. The role of musical theater is to tell stories using a medium that is deeply—dare I say, intimately—close to the Filipino heart.”
This article was published in The LaSallian‘s March 2025 issue. To read more, visit bit.ly/TLSMarch2025.
