Supporters of original Filipino musicals are glad that shows like “Rak of Aegis” and “Katy!” have been acclaimed by appreciative viewers—and that new productions like “Bituing Walang Ningning—The Musical” are being lined up.
But, it looks like the local musical scene is a case of “one step forward, two steps back,” because “Broadway” imports are being produced here—with a vengeance! Not only do our theater groups mount their versions of foreign musicals, but productions from abroad are being staged in performing venues here, like “Chicago” and “Singin’ in the Rain.”
Discordant tune
Sadly, the bulk of the income in terms of ticket sales and sponsorships is going to the foreign works, while homegrown productions are languishing—to the discordant tune of only 20 percent for local and 80 percent for foreign!
Yes, folks, “colonial mentality” is alive and kicking the heck out of Filipino stage works—so, what can we do about it?
First, we should acknowledge that the problem exists—and that it is a problem. Far too many people think there’s nothing wrong with our general, 80-20 preference for foreign works and artists because, as they coolly explain it, “the performing scene is global now,” so local works just have to “compete” with imports, matira ang matibay.
This is just so wrong—like expecting a one-legged man to run a race with two-legged competitors—and win!
At this point in our cultural development or rehabilitation, we have to realize that the performing field isn’t a level one, so local works have to be given the preferential support they have had to do without for decades—ironically, in their own country!
So, the “rule” for all of us should be this: Yes, go ahead and patronize foreign works—but, for every ticket you buy for a “Broadway” production, make it a point to also buy a ticket to a Filipino musical performance!
That’s still a far cry from the 80-20 disparity that’s still obtaining, but 50-50 is a better and more enlightened ratio, right?