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| Eugene Domingo leads the cast of "Ang Babae sa Septic Tank 4" |
I have notes.
I watched Ang Babae sa Septic Tank 4: Oh Sh*t! It's Live! last July 12 at the PETA Theater Center with my niece, and we were both genuinely excited. Seeing the franchise come alive on stage—led by the one and only Eugene Domingo—already felt like an event we didn't want to miss.
From the very first few minutes, the show proves that it's incredibly timely. It wastes no time throwing jokes about current events and personalities, including Alex Eala and Hidilyn Diaz, with Eugene Domingo delivering the punchlines in a way only she can. She has this unmatched ability to make even the boldest jokes land effortlessly, reminding everyone why she's one of the country's greatest performers.
One thing I immediately appreciated was how naturally the production introduced its cast. If you're not a regular theatergoer, the opening makes it easy to get to know everyone. Their backgrounds, achievements, and recent credentials are smoothly woven into the show, making every performer feel familiar before the story even fully unfolds.
And then came the Ugeng-gengs.
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| Eugene Domingo and the Ugeng-gengs |
Forget the usual teenage gangs you imagine hanging around Manila malls. These ones are proudly from Alabang, and that alone already tells you what kind of comedy you're about to get. Eugene Domingo, as the self-appointed "mother" of the group, places herself on a hilarious pedestal of superiority. She's loud, unapologetic, over-the-top, and completely entertaining. Every scene with them was pure fun.
Fans of the original Septic Tank movies will also love how the production continues its tradition of poking fun at acting styles. The first film introduced unforgettable jokes about "TV Patrol acting," "elevator acting," and "as is, where is" acting. This fourth installment levels it up by taking playful shots at different schools of acting and theater institutions.
Dulaang UP and PETA—both closely associated with Eugene Domingo—become part of the jokes. Repertory Philippines, known for producing internationally recognized talents like Lea Salonga, also gets its moment. But the biggest laugh for me came from the introduction of the completely absurd and brilliantly original "Four Corners Acting." I honestly couldn't stop laughing. It was one of those jokes that's so ridiculous, yet somehow makes perfect sense within the show's world.
What surprised me most, however, was how the comedy slowly transformed into something much bigger.
The play offers a sharp satire of the Philippine theater industry. It asks a question that many probably haven't stopped to think about: Are we really experiencing the Golden Age of Philippine Theater, or just the Golden Age of Metro Manila Theater?
As someone who lives in Metro Manila, I honestly found myself agreeing. Most of the productions that receive attention, praise, and media coverage happen within Metro Manila, while many theater communities outside the capital remain largely unnoticed.
The show also doesn't spare its audience.
It cleverly points out how theater has sometimes become a badge of being "cultured," where watching plays turns into bragging rights instead of a genuine appreciation of the art. I loved that the production wasn't afraid to challenge everyone—artists, producers, audiences, and even itself. Nobody was safe, and that's exactly why the satire worked.
More importantly, it reminds us of what theater is really supposed to be.
Beyond entertainment, theater has always existed to educate, challenge perspectives, question power, and fight for something bigger than itself. The show asks whether that original purpose is slowly getting lost beneath commercial success and spectacle. It raises uncomfortable questions while making you laugh, which is exactly what great satire should do.
By the second act, the production becomes even more ambitious.
The classic play Kahapon, Ngayon at Bukas by Aurelio Tolentino is transformed into a grand musical that hilariously drifts farther and farther away from its original material. Watching the creative process completely spiral out of control becomes one of the funniest parts of the show. Every cast member commits fully to the chaos, making each unexpected turn even more enjoyable.
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| Eugene Domingo as Inang Bayan in the Septic Tank 4's adaptation of Aurelio Tolentino's "Kahapon, Ngayon, at Bukas" |
There are also technical and staging surprises that you simply won't fully appreciate from photos or videos. The production uses areas and stage elements that many theater shows don't normally maximize, keeping the audience constantly curious about what might happen next.
By the time the curtain fell, I honestly wished I could watch it again.
Unfortunately, every performance is already sold out. If the production ever gets an extension, I wouldn't hesitate to buy another ticket. Although after everything Eugene Domingo goes through in this installment, who knows if she'd still want to climb back into the septic tank one more time?
One thing is certain: Ang Babae sa Septic Tank 4: Oh Sh*t! It's Live! isn't just a comedy. It's a love letter to Philippine theater, a fearless critique of the industry, and a reminder of why live performances continue to matter. It makes you laugh, makes you think, and occasionally makes you question whether you've also become part of the joke.
If you're lucky enough to have tickets, don't miss it. If not, hope for an extension.
The show's final performances run until August 16—and if there's any justice, this won't be the last time Eugene Domingo lets us peek inside the septic tank.
If you plan to publish this as a blog or Facebook review, I can also make it punchier, more conversational, and packed with shareable one-liners while avoiding major spoilers.
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