Flushing out Philippine theater’s dirty secrets with big laughs
The film Ang Babae sa Septic Tank was such a cultural phenomenon in 2011—so fresh and irreverent, mocking independent cinema’s poverty porn, festival filmmaking and the obsession with foreign recognition. Its two sequels in 2016 and 2019 thereupon trained its guns on commercial cinema and historical revisionism in streaming algorithms. With its latest edition, Ang Babae sa Septic Tank 4: Oh Sh*t! It’s Live sa Cheter! presented by the Philippine Educational Theater Association, playwright Chris Martinez and director Maribel Legarda move the battlefield from the silver screen to the stage, another bold move given the “golden age” status that Philippine theater has been christened with lately. The shift to this medium is not just an adaptation but a reinvention into a delightful, self-aware comedy that celebrates theater even as it mercilessly exposes all its dirt and absurdities.
It’s as meta as meta can be as you witness firsthand how a play—Kahapon, Ngayon at Bukas by Aurelio Tolentino—comes into being from pre-prod to rehearsals to opening night, featuring theater practitioners who are playing over-the-top versions of themselves in the most insanely hilarious way as the play pokes fun at oversized egos, ridiculous backstage politics, audience expectations and the perpetual struggle between artistic integrity and commercial survival. Even PETA isn’t spared.
Eugene Domingo as the demanding diva is the whirlwind that anchors this production, with her fearlessness, impeccable comic timing and ease in switching from slapstick to razor-sharp satire. In her hands, even the most absurd moments feel truthful because it is grounded in genuine vulnerability. Domingo may be famous as a film and television star but she actually started her career in theater, graduating from UP in Theater Arts, honing her craft under legendary directors Tony Mabesa and Behn Cervantes and regularly returning to the stage including PETA’s Night, Mother in 2018 and last year’s Into the Woods by Theatre Group Asia.
But while Domingo is the gravitational center, it is still an ensemble piece and every member is given the chance to shine. Melvin Lee’s restrained performance as the stressed producer contrasts with Domingo’s megalomania, a stable presence as everyone else descends into madness. Andoy Ranay, known for his dramatic and comedic skills, is a master of self-parody, even adding exhibitionism to his résumé. JC Santos’ triple-threat gifts serve the production well while Stella Cañete Mendoza keeps her signature class even in drag, making the most outrageous lines sound natural. Marlon Ramirez and Joshua Lim So make a perfect duo as the exasperated director and playwright who have to put up with Domingo’s endless “notes” and “asks” for rewrites and creative compromises. Me Ann Espinosa is dependable as team player for ensemble chemistry which is supported in large part by the Ugeng-gengs whose urban street attitude brings relentless energy and organized chaos to the pomposity of the theater world, propelling the production forward.
Martinez’s script is sharp as ever, reflecting his unique gift of blending broad comedy with bitingly perceptive cultural satire and poignant melodrama. The humor is totally entertaining while asking serious questions about where theater is headed. His deep knowledge of the theater world coupled with prior interviews with the cast members result in dialogue that feels authentic rather than merely caricatured.
Legarda allows a dynamic and playful immediacy to the live performances, giving actors space to develop distinctive identities while maintaining a cohesive ensemble rhythm. With her pacing, pauses, escalating absurdity and visual staging, the laughs are carefully built to land precisely.
The design team makes every element integral to the satire while creating a production that looks like a polished professional play as well as a chaotic backstage. Gino Gonzales’ intelligently conceived set design of a septic tank turned futuristic lab amazingly keeps transforming from scene to scene with all the elements already built in, miraculously conjuring wondrous spaces—shifting quickly without interrupting the comic momentum. Here, the lighting of Barbie Tan-Tiongco is crucial, defining shifts between rehearsal and performance, fantasy and reality. Gonzales’ costume design is just as spot-on, exaggerating personas but still true to the character while reinforcing the parody. Angel Dayao’s sound design provides the rhythmic engine, punctuating punchlines and heightening absurdity.
Some of the jokes may require an insider’s knowledge, but for the most part, it’s one hell of a laugh fest especially the first half, with things slowing a bit in the second as the play gets into the nitty-gritty of production and scenes are repeated in different versions. Its greatest achievement is transforming self-parody to social critique by laughing at its own industry and questioning itself. It concludes not by offering solutions but by reaffirming why theater persists despite all the mess and uncertainty. It survives because live performance creates something precious: a community that can laugh together and face uncomfortable truths together while pushing creativity to new directions.
Ang Babae sa Septic Tank 4: Oh Sh*t! It’s Live sa Cheter! will run at the PETA Theater until Aug. 16.
