A bold vision is taking shape in Philippine musical theater – a production calledMoudifa, fueled by a groundbreaking, and controversial, creative partner: artificial intelligence. Executive producer Margarita Marquis isn’t just aiming for a show; she’s attempting to redefine how musicals are born.
A recent preview at RJ Bistro in Makati offered a glimpse into this work-in-progress, revealing 14 musical numbers performed by VIVA artist Jassy Calupitan, RJ & The New Riots vocalist Angie Bonnevie, and the energetic Next Us Dance Crew. The story centers on a Filipina flight attendant navigating life in the Middle East, drawing inspiration from Ms. Marquis’ own published experiences.
The ambition is immense. Ms. Marquis openly states her goal: to create a spectacle on par withMiss Saigon. But the path to that level of success is unconventional, relying heavily on AI to generate both music and lyrics – a process that has sparked debate within the Philippine theater community.
Initially, Ms. Marquis approached AI as a purely mechanical tool. “I created a hundred songs with AI, no soul,” she explained, acknowledging the common criticism that AI-generated art lacks emotional depth. Yet, something unexpected happened. As she continued, the AI began to reflect her own feelings, even seemingly capable of expressing sorrow. “AI can cry!” she declared, convinced the lyrics transcended their digital origins.
The songs themselves are a diverse blend of genres, from upbeat pop anthems like “Boom Boom Boom” to a Tagalog ballad, “Lumipad ng Mataas.” However, early impressions revealed a certain lyrical verbosity and a generic pop sensibility in tracks like “Moudifa’s Flight,” hinting at the AI’s influence. (“In a land where the sand meets the golden oil, Moudifa’s on a mission, through the sweat and toil.”)
The revelation that AI was integral to the creative process ignited a passionate discussion among Filipino artists. Playwright Luna Griño-Inocian cautioned that AI relies on existing human work, essentially “eating up” and repurposing original ideas. It doesn’t create from a place of genuine emotion, but rather from a vast database of pre-existing art.
Composer Vincent De Jesus voiced a stark concern: “Why would you pay for a ticket when you can generate your own musical at home?” He believes AI fundamentally devalues the artistry and human connection at the heart of musical theater. The question becomes, what is the value of a live performance if the core creative elements are artificially produced?
Others offered a more nuanced perspective. Musician Myke Salomon acknowledged the potential of AI as a tool, similar to how computers assist composers today. The key, he argued, is whether the technology can serve to enhance storytelling and create a truly immersive experience.
Ms. Marquis anticipates a future where AI dominates the music industry, potentially displacing human performers. However, she suggests that musicians’ equity – similar to union protections on Broadway – could safeguard artists’ livelihoods. The debate isn’t simply about technology; it’s about the future of artistic expression and the role of human creativity in a rapidly evolving world.
AsMoudifamoves towards a planned full production in 2026, it stands as a provocative experiment. The ultimate judgment will rest with the audience, who will decide whether this AI-assisted musical can truly capture the heart and soul of a compelling story.
