Philippine theatre has been on a roll lately, with an abundance of original plays, stagings of Broadway musicals, adaptations of Filipino films, and Filipino musicals that gained enough popularity to receive rerun after rerun, like ‘Walang Aray’ by PETA itself. This consistent stream of output post-pandemic is referred to as the ‘golden age’ of Philippine theatre, and this stand-alone sequel ‘Ang Babae sa Septic Tank 4’ discusses, pokes fun at, and twists that notion on its head.

This sequel is the fourth entry to the Eugene Domingo-led franchise. It is also the first (and so far, only) installment performed live for an audience, rather than for the cameras, as its subtitle ‘Oh Sh*t! It’s Live sa Cheter’ says. Live theatre cultivates a unifying energy between actor and audience, and this play (although musical sometimes) delivers on that in spades through laughter and cheer.

Immersion in Philippine theatre

The play takes place in the present day. Being a product of its time, ‘Ang Babae sa Septic Tank 4’ references current events or namedrops people relevant at the moment. It also already does not waste time with providing exposition on the celebrity of Eugene Domingo, who audiences immediately see in a tennis game with Alex Eala (she does not make a physical appearance). There, the audience manages to get a sense of the level of reverence Domingo commands within the play’s world. 

Just as immediately, the play brings up theatre practitioner Rody Vera and his preoccupation with this year’s Virgin Labfest. This results in a litany of jokes and remarks about the current state of Philippine theatre. While these are capable of eliciting belly laughs, they also have the ability to make casual audiences feel excluded. Much of the first act requires familiarity with not just the productions that have been staged recently, but also the personalities that make up the theatre industry. 

The dynamics between the actors in this play experiences feel natural. Further developed so seamlessly by playwright Chris Martinez, audiences are also aware of each actor’s personality onstage. The cast’s interactions with one another feel authentic as a result. Their debates about what audiences want from theatre, the impact of social media on theatregoing, and how theatre has become an indicator of class and culture are mesmerizing and enlightening. The cast’s voices do overlap with one another, but overall it never feels too self-aggrandizing, thanks to director Maribel Legarda’s grounded staging.

These tirades are the effect of alcohol consumption and edibles fresh from Bangkok. So obviously, everything is entertaining enough. The overindulgence of these actors during an intimate dinner could have gone awry, but Martinez and Legarda show just enough restraint. 

Comedic power of actors

‘Ang Babae sa Septic Tank 4’ centers itself on the stature of Eugene Domingo. She is absolutely the main draw of this play’s 50-show run, but the supporting players that surround her are just as instrumental in making this play currently one of Philippine theatre’s hottest tickets. Domingo, effortless as ever, delivers on the wit and charm that define her. She is wholly superb in this play, which serves as a sufficient reminder of why Eugene Domingo is the ‘comedy star for all seasons.’ 

PETA mainstay Meann Espinosa is a lively presence who also brings in the laughs. Andoy Ranay’s embrace of his character’s absurdity, believably daring enough to bare it all, draws applause and cheers. JC Santos, just as unhinged, has a magnetic quality, particularly in a number that dresses him similarly to Uncle Sam. They are also accompanied by Melvin Lee, Stella Cañete-Mendoza, Joshua Lim So, and Marlon Rivera, all of whom give performances that assist with the full realization of the play’s comedic power.

Domingo’s fan group Ugeng-gengs (played by Ron Alfonso, Kiki Baento, Roi Calilong, Jay Cortez, Nyla Festejo, James Lanante, Carlon Matobato, Eli Namoc, Reggie Ondevilla, Air Paz, and Ada Tayao) increases the comedic value. Also sufficient proof of just how unhinged ‘Ang Babae sa Septic Tank 4′ is, both as a play and as an experience. The group is particularly effective in a sequence that demonstrates the differences among the acting styles of Dulaang UP, Repertory Philippines, and PETA itself. Domingo’s Ugeng-gengs add to this play’s hilarity. And all in all, this play is full of comedic chameleons.

Reverence for the art form

The cast of ‘Ang Babae sa Septic Tank 4’ is full of seasoned theatre practitioners. Martinez weaves their decades of experience into the book, effectively ensuring each interaction comes off as natural. Actors make callbacks to their scene partner’s previous theatre credits, and Domingo’s real-life collaborations with renowned directors also receive a showcase. Legarda’s direction and the book Martinez penned lean into the absurdity a bit too much from time to time, but it is clear just how much this work holds not just Philippine theatre in high regard, but the art form as well. 

References to PETA’s affinity for the tableau receive considerable focus. Broadway is also represented through a spontaneous, short performance of ‘As If We Never Said Goodbye’ from Tony-winning musical ‘Sunset Boulevard.’ There is even a dominantly tap-dancing number (complete with a kickline), obviously inspired by the Golden Age of the musical, which shows off the triple-threat nature of this play’s talents. 

These sequences carry the weight of storied careers. And in reaching the play’s second act, Domingo is now fully intent on mounting an at-sea production of the 1903 patriotic play ‘Kahapon, Ngayon at Bukas’ by revolutionary Aurelio Tolentino. 

Yet reputation equals ego. Instead of making the necessary adjustments as an actress, Domingo admits lacking passion during rehearsals for Tolentino’s play. In turn, she explicitly states she wants the work translated into English. Or reimagined for the present day. While Martinez does not engage with ego nor creative liberty deeply, his presentation plays well to audiences, no doubt. Legarda (and assistant director Johnnie Moran) also does great work with the play’s momentum, in the sense that the comedy does not get stale because the comedy is properly spaced out. 

Underscoring the absurd

Despite the simplicity of the material, the set design is quite dynamic, and the sound quite immersive too. Its set by Gino Gonzales and Leslie Centeno largely relies on panels, which proves to be extremely effective by the end. Lighting designer Barbie Tan-Tiongco also assists here, with work that adds to the spectacle and also sets the stage for the stunning reaction that Domingo’s antics will inspire among audiences, in real life and inside the play. Tan-Tiongco’s lights also emphasize the sheer absurdity of the material. Videos by Bene Manaois also help complete the absurdity Martinez and Legarda envisioned. 

Sound from Angel Dayao also immerses PETA’s audience, specifically in the memorable sequence of the second act. It takes place in a cruise amid turbulent seas. Dayao’s music, coupled with Michelle Ngu-Nario’s lyrics, is also the highlight of act two. As ‘Kahapon, Ngayon at Bukas’ is reworked into a musical, the cast performs a patriotic number-within-the-play reminiscent of the Golden Age musical that proves to be a fittingly generic earworm. Costumes by Gonzales and Martha Cruz convey the sappy branding of old-fashioned American propaganda plus the unhinged energy at the first act. Raflesia Bravo, particularly her choreography for the said number, is also commendable with how she captures the vigor present in that specific era.

Spectacle as selling point

Conversations about the state of theatre were abundant, but interrogations were as well. The play also doubts the claim that Philippine theatre is on a ‘golden age’ at the moment, noting that much of Philippine theatre remains concentrated in the metro. Adding to this is the claim that Philippine theatre is rife with musicals and nudity, for these are the biggest selling points. 

With her lack of passion being one big reason, Domingo strives to reimagine Tolentino’s play as a musical. Yet with the abundance of musicals, doing an original play as a musical would mean a harder journey in rising above this clutter of musicals. Deviating so would restrain the work from being a singular staging. As it turns out, however, it is actually spectacle that is the most unique selling point. Not story, not songs, but spectacle, in order to be singular. 

‘Ang Babae sa Septic Tank 4’ is an entertaining and enlightening experience at the theatre. It does not go easy on jokes, and this play solidifies Eugene Domingo as one of the country’s greatest actresses. To have watched her here is a gift and a privilege. 

The play delivers on spectacle, but also on story and on songs. And while most of Philippine theatre is staged in Metro Manila at the moment, the first-rate performances in this play hint at the overall quality of Philippine theatre today. If the quality (and spectacle) of this play is any indicator as well, then there’s no doubt that the golden age of Philippine theatre is imminent, if not now.

Further information

‘Ang Babae sa Septic Tank 4′ is produced by the Philippine Educational Theater Association (PETA). It will run from June 19 to August 16, 2026 at the PETA Theater Center in New Manila, Quezon City Black Box at the Proscenium Theater in Rockwell, Makati. Tickets are available via TicketWorld or PETA’s official showbuyers.

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