Cover Eugene Domingo is back on the live stage for PETA’s ‘Ang Babae sa Septic Tank’ (Photo: courtesy of PETA, Inc)
Eugene Domingo is back on the live stage for PETA’s ‘Ang Babae sa Septic Tank’ (Photo: courtesy of PETA, Inc)
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The Philippine Educational Theater Association (PETA) is bringing the cultural phenomenon, ‘Ang Babae sa Septic Tank’, to the stage, marking the famed satire’s bold leap from the screen to Eugene Domingo’s theatrical roots
With the Philippine theatre industry currently experiencing massive attention—back-to-back shows, continuous activation of theatre companies of various sizes and scales, film and television actors crossing over to the stage and sustained interest from certain demographics of theatregoers and showbuyers, among others—Eugene Domingo’s live staging of her iconic Ang Babae sa Septic Tank couldn’t come at a more opportune time. Arguably, certain people in the industry call this a “golden age” for Philippine theatre. However, Domingo—and many other true servants of the Philippine stage—dare to question that.
Just recently, sub-Reddit threads have shaken that rose-tinted view of the current state of Philippine theatre. Confessions of sexual abuse and harassment from the harsh environs of what was supposed to be a safe space for artistic expression have come to light and reached the ears of certain production companies. There has also been ongoing intrigue surrounding the promised support for those elevated to National Performing Arts Company status, not to mention the audiences’ thirst for bold, truthful and brave narratives amid a sea of flashy spectacles. Are we really in the golden age of Philippine theatre?
Above One of the iconic scenes from ‘Ang Babae sa Septic Tank’ (2011)
What began in 2011 as a groundbreaking independent film has steadily transformed into a multi-platform cultural touchstone.
The original Ang Babae sa Septic Tank captured the indie film boom, fearlessly satirising the industry’s fixation on poverty porn and its relentless pursuit of international acclaim. In this breakout performance of Domingo, the film became a cultural phenomenon that exposed the ethical contradictions of local filmmakers.
The sequel set its sights on the excesses and formulas of mainstream commercial cinema. It skewered romantic comedies and the undeniable commercial power of Filipino love teams, proving that the Ang Babae sa Septic Tank franchise could expertly deconstruct box-office tropes while participating in the 2016 Metro Manila Film Festival.
Above Melvin Lee and Eugene Domingo during the press preview of ‘Ang Babae Sa Septic Tank 4: Oh Sh*t! It’s Live Sa Cheter!’ (Photo: courtesy of PETA, Inc)
Melvin Lee and Eugene Domingo during the press preview of ‘Ang Babae Sa Septic Tank 4: Oh Sh*t! It’s Live Sa Cheter!’ (Photo: courtesy of PETA, Inc)
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Shifting to the digital sphere as an iWant series, the third instalment tackled historical revisionism. It brilliantly satirised how historical narratives are shaped, distorted and performed for contemporary audiences in the digital age.
Now, the franchise turns its sharp, self-aware lens towards contemporary theatre-making. Structured as a “play within a play”, the narrative of ‘Ang Babae Sa Septic Tank 4: Oh Sh*t! It’s Live Sa Cheter!’ explores the chaotic process of mounting a production of Aurelio Tolentino’s Kahapon, Ngayon at Bukas. It showcases actors portraying heightened versions of themselves, blurring the lines between reality and performance.
Above The ensemble of PETA’s ‘Ang Babae sa Septic Tank’ called the Ugeng-gengs (Photo: courtesy of PETA, Inc)
The ensemble of PETA’s ‘Ang Babae sa Septic Tank’ called the Ugeng-gengs (Photo: courtesy of PETA, Inc)
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Playwright Chris Martinez explains that the production was born from a desire to examine the state of Philippine theatre—where it has been, where it is and where it is heading. He highlights the inherent tension in creating art, describing it as the struggle between having teeth and having to tap dance.
For director Maribel Legarda, this staging is an exhilarating transformation rather than a mere replication. She emphasises that film and theatre speak entirely different languages. “In theatre, ‘live’ is not just a descriptor,” Legarda shares. “It is a condition. It breathes, it trembles, it risks failure, and in doing so, it allows for discovery.”
Above Playwright Joshua Lim So, theatre and film actor JC Santos, and theatre and film director Melvin Lee join recurring cast member Marlon Rivera in ‘Ang Babae Sa Septic Tank 4: Oh Sh*t! It’s Live Sa Cheter!’ (Photo: courtesy of PETA, Inc)
Playwright Joshua Lim So, theatre and film actor JC Santos, and theatre and film director Melvin Lee join recurring cast member Marlon Rivera in ‘Ang Babae Sa Septic Tank 4: Oh Sh*t! It’s Live Sa Cheter!’ (Photo: courtesy of PETA, Inc)
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In today’s content-saturated landscape, live theatre offers a thrilling immediacy and the magic of shared, communal laughter. As Legarda notes, comedy serves as a powerful mirror; when we laugh, we let our guard down and often recognise uncomfortable truths.
Sharing the stage with Domingo is a powerhouse cast of theatre-makers, including Melvin Lee, Andoy Ranay, Meann Espinosa, JC Santos, Stella Cañete-Mendoza, Joshua Lim So and Marlon Rivera, alongside a vibrant PETA ensemble.
This June, prepare for a fearless, hilarious and unapologetically meta celebration of Philippine theatre. It is an invitation to laugh, to reflect and to engage.
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About
Before assuming the Art and Culture Editor position, Franz has always had a penchant for visual and performing arts. He is passionate about exploring and writing about the local cultural scene and rediscovering the country’s storied past and rich heritage. Besides working on this luxury lifestyle magazine, Franz is an avid book reader, local traveller, museum-goer, chorister, and community theatre playwright.
Work
Franz earned a degree in Journalism from the University of Santo Tomas. He writes about local visual and performing artists and their craft; drinks wines, liquors, and spirits and talks about the creativity of their respective winemakers and master blenders; tries to learn more about business and investments; respects the tradition and artistry that go behind the making of watches and jewellery; and appreciates the genius of architecture and creative design.
As head of Tatler Philippines’ pool of writers, he helps them bring impactful and socially relevant stories to light.
For any leads, you may reach him through @franzsorillaiv on Instagram or franz@tatlerphilippines.com via email.
