So yes, this is a clickbait title. I’m not literally saying that the entire Philippine Theater scene today seems to be operating on a Groundhog Day principle - i.e., a succession of revivals and re-runs of musicals and dramas that were staged over the last five years to a decade.
However, I will confess that from where I sit, observing the better marketed and connected production companies, who manage to take over the more prestigious venues, it does seem to be that way - a virtual freezing of time.
It's gotten to the point where I check the dates of my email invites to media previews and opening nights very carefully. I blink twice to make sure I'm not caught in some time warp, or that invites from five or six years ago have inexplicably resurfaced! But no, they are current invites from today; and yes, for the most part, the shows are flashbacks and create strong episodes of déjà vu, followed by ennui.
Ennui, because on the one hand, I can understand how production companies involved will often need sponsorship money and ticket sales to survive. These revivals do create something of a "comfort zone" for potential investors and audiences.
But on the other hand, I can't help but be sympathetic to budding or new playwrights, musical directors, and composers, who are now extra challenged to even bother coming up with new material and exercising their creativity, as it would seem there's no ready audience or support existing.
It defies the meaning of the word "Huling," but sure, we get it. The formula works, and I understand that there is a new musical being planned for next year that revolves around the Parokya music library. Good for the band as I presume this means royalties, and good for the producers if they found ready sponsors. However, I'll be frank and admit that I'm disappointed with how it's become so "formulaic" and predictable. Aegis, E-Heads, APO Hiking Society, now Parokya... Let's weave a story around the songs and the era, and off we go!
Truth be told, it also creates a problem for me as a theater critic. The same production company, the same cast, and the same roles, five years on. What exactly am I supposed to write? I would be more interested if they changed up the roles, challenged themselves as actors and actresses to not merely reprise the roles they have previously portrayed. But no, the formula aspect of what worked once is taken to its extreme interpretation, with a sad dearth of imagination. This has been the case with a number of productions that I have had the chance to watch over the last year. As critics, we are left to write some numbing variation of how the actors have grown into the role, have a newfound maturity, and so on.
And yes, I have generally kept my mouth in check, but here is my opportunity to express my disappointment. I am not saying no to these revivals, but I do wish that these more established production companies would mix it up and be willing to stage new material. And I am not even saying that it has to be original Filipino material. Please pay the rights for some new musical or drama from abroad. Quality and merit will come out - just look at how Reconciliation Dinner worked. It was updated so that it was not literally just a rerun.
As members of the press, we are ready to help, drum up interest, and support the local theater scene. But do raise the level of conversation and reviewing. Take risks, calculated ones - but risks just the same. I know I’m down for a new, energized theater scene, one that isn’t mired in re-runs and revivals, and full of formulaic offerings. What do you say?