PETA x Move to Change Foundation, Inc. bring audiences into a world where they call the shots in “Gen G: GG na ’to!”

Because change does not begin only when young people become leaders, it begins when they recognize that their choices already matter.

What’s next for PETA? Aligned with its continued commitment to advocacy and educational theater, the Philippine Educational Theater Association (PETA) presents “Gen G: GG na ’to!”—a new interactive play about choice, survival, and community.

Created in partnership with Move to Change Foundation, Inc. (M2C)—a social purpose organization creating opportunities for young people to lead positive change—the production is part of Project GG: Game Changers for Good Governance, a youth-centered campaign that transforms civic education into lived experiences where young people learn that every voice matters and every act of participation helps shape more accountable communities and stronger democratic systems.

But this isn’t your usual sit-back-and-watch kind of play, the audience gets to participate, make choices, and help shape the experience.

Show Synopsis:
Set in an alternate Philippines submerged in flood waters, Gen G follows a group of young people placed in “Balangay Gen Zones”, temporary communities for youth who are adaptable, flexible, and have high chances of survival. They were to remain safe in the Balangay while adults sought solutions elsewhere.

But when the supposed return date arrives, the adults are nowhere to be found. Left to fend for themselves, the young people must figure out how to run their Balangay—and this time, the audience gets a say. Through votes, choices, negotiations, and unexpected consequences, audiences become part of the community and help determine what happens next.

As the story unfolds, Gen G asks: Who gets heard? Who gets left behind? What do we prioritize? Survival isn’t just about making the “right” choice. And when the system we inherit doesn’t work anymore, do we simply adapt—or do we dare to change it?

Through the world of the Balangay, Gen G invites young people to see participation as something that extends beyond elections, and agency beyond choosing among options given to them. It encourages them to question, imagine, and act together.

For co-playwright and PETA Artistic Director J-mee Katanyag, the starting point was the seemingly simple question, “G?”

“Every time we say yes to something, we are also making a choice. And whether we realize it or not, our choices reveal what we value, whom we care about, and what kind of community we are helping create.”

At the helm is an exciting creative team led by director Ian Segarra (Walang Aray, 2023 & 2025 - PETA), playwrights J-mee Katanyag (Nobody is Home, 2025 - PETA) and Jhudiel Sosa (Identité, 2024 - Virgin Labfest 19), musical director Kabaitan Bautista (Si Faust, 2025 - Areté), set and props designer Julio Garcia (Walang Aray, 2023 & 2025 - PETA), and costume designer Johnnie Moran.

The cast features a mix of emerging and established performers, including Lyle Viray as New Character, Johnrick Noynay as Dex, James Lanante as Sid, Camille Fabian as Chloe, Francheska Andaya as Achi, Cb Lagapa as Achi/Chloe, and Ada Tayao and Zoe Damag as Joker.

 
Lyle Viray (New character), Johnrick Noynay (Dex)

 
James Lanante (Sid), Camille Fabian (Chloe)

 

Francheska Andaya (Achi), Cb Lagapa (Achi/Chloe)

 

Ada Tayao and Zoe Damag as Joker

The show will be touring 12 schools from September to December 2026.

Beyond the performance, “Project GG” will create opportunities for young people to engage through interactive experiences, workshops, community conversations, and other participatory activities designed to encourage critical thinking, collaboration, and collective decision-making.

From September to November 2026, the campaign will bring together partners and communities through initiatives focused on Global Citizenship Education, narrative change, and youth participation—from Reclaiming Democratic Spaces for Children through GCED in partnership with Terre des Hommes and Dachser, to the Narrative Change Education Series with DAKILA, Misereor, and FNF Philippines, culminating in Control + Shift Live! Narrative Change StudioLab and the Narrative Change Forum, which will extend conversations around narrative, power, care, and social change through performances, dialogue, and community exchange.

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I Have Notes: 'Septic Tank 4' made me laugh so hard... then quietly called me out

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.

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.

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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PETA Opens “Ang Babae Sa Septic Tank 4,” Bringing the Franchise’s Signature Satire to Live Theater

After months of anticipation, the Philippine Educational Theater Association (PETA) officially opens the first live theatrical installment of the iconic satirical franchise, “Ang Babae sa Septic Tank 4: Oh Sht! It’s Live sa Cheter!”, running from June 19 to August 16, 2026 at the PETA Theater Center.

The production embraces everything audiences have come to love about the “Ang Babae sa Septic Tank” universe: humor, larger-than-life personalities, outrageous situations, and a meta look at the messy business of making art. The result is a theatrical experience that is hilarious, self-aware, and chaotic.

At the center of the story is a play within a play—a wildly ambitious adaptation of Aurelio Tolentino’s “Kahapon, Ngayon at Bukas,” one of the most significant works in Philippine theater, first staged in 1903. Somehow, against all odds and perhaps better judgment, it finds itself inside the world of “Ang Babae sa Septic Tank,” where questions of power, resistance, and revolution are refracted through celebrity, spectacle, and theatrical chaos.

Caught in the middle of it all is Eugene Domingo, who recruits the “Ugeng-gengs” (a troupe of aspiring performers personally recruited by Eugene), rallies an eclectic team of collaborators, and pushes the project far beyond the limits of practicality. Visionary, charismatic, exasperating, and impossible to ignore, she becomes the driving force behind a production that threatens to spin gloriously out of control just as she tries harder and harder to keep it under her full control.

Eugene Domingo and the Ugeng-gengs

Andoy Ranay

JC Santos

Ensemble

Yet the production deliberately resists easy or didactic conclusions. As playwright Chris Martinez explains: “The play doesn’t try to resolve that. It just puts it onstage.” The production invites audiences to laugh at them, wrestle with them, and continue the conversation long after the curtain falls.

That philosophy has always been central to the “Septic Tank” franchise. Previous installments challenged audiences to confront uncomfortable truths about independent filmmaking, commercial cinema, and historical revisionism. This latest chapter continues that tradition by exposing the tensions within contemporary theater and the society it reflects.

As Marlon Rivera, director of the first three “Septic Tank” installments and now a cast member in the fourth, puts it: “Once the tyrant is expelled and the star is covered in shit, does the audience walk out clean, or are they left holding the ticket stubs of their own complicity?”

Audience demand has already translated into strong ticket sales, starting with two sold-out weeks and several other performances fully booked throughout the run.

Tickets are still available via TicketWorld at bit.ly/SepticTank4Tickets and through Showbuyers at bit.ly/SepticTank4Showbuyers.

For more information and updates, follow @petatheater on social media.

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PETA Brings a Cultural Phenomenon to the Stage with Ang Babae Sa Septic Tank 4: Oh Sh*t! It’s Live Sa Cheter!

At a time when Filipino theater is thriving across the country, the Philippine Educational Theater Association (PETA) proudly unveils one of the most anticipated theatrical events of 2026: “Ang Babae Sa Septic Tank 4: Oh Sh*t! It’s Live Sa Cheter!” a fearless, hilarious, and razor-sharp evolution of a franchise that has defined satire across film, digital, and now live theater.

Headlined by Eugene Domingo, the franchise takes a bold leap from screen to stage in this highly anticipated fourth installment.

From A Cult Classic to Cultural Touchstone
What began in 2011 as a groundbreaking independent film has evolved into a multi-platform cultural phenomenon. The original Ang Babae Sa Septic Tank captured the indie film boom, satirizing the industry’s fixation on “poverty porn” and its pursuit of international acclaim. Its sequel skewered mainstream romantic comedies, while its third installment examined historical revisionism in the digital age.

Now, the franchise steps into live performance, turning its lens toward Philippine theater.

True to its DNA, the series remains a satire with purpose. “Septic Tank has always been about satirizing institutions,” shares playwright Chris Martinez. “This time, it is about the state of Philippine theater, where it is, and where it’s going.”

For director Maribel Legarda, this staging is not replication but transformation. “Film and theater speak different languages. What excites me is how something familiar can evolve and find new meaning in liveness.” She adds, “In theater, ‘live’ is not just a descriptor. It is a condition. It breathes, it trembles, it risks failure, and in doing so, it allows for discovery.”

A Mirror to a “Golden Age”
The arrival of Ang Babae Sa Septic Tank 4 comes at a pivotal moment. Widely described as a “golden age” for Philippine theater, recent years have seen a surge in productions and audiences, bringing with it new challenges for the industry.

“It’s exciting, but it’s also a good time to analyze,” says Chris Martinez. “Is it really a golden age? There is good, there is bad, and maybe this play can offer a clearer perspective on the power of theater.”

Legarda underscores the urgency of live performance in today’s content-saturated landscape. “When we laugh, we let our guard down and sometimes recognize uncomfortable truths. That is where comedy becomes a mirror.”

In this sense, Septic Tank 4 is both a celebration and a commentary, a funny, self-aware take on an art form that is vibrant, ever-shifting, and not without its own “sh*t.”

A Powerhouse Collaboration
Sharing the stage with Eugene Domingo is an exceptional lineup of theater-makers, including Melvin Lee, Andoy Ranay, Meann Espinosa, JC Santos, Stella Cañete-Mendoza, Joshua Lim So, and Marlon Rivera, alongside a vibrant PETA ensemble: Ron Alfonso, Kiki Baento, Roi Calilong, Jay Cortez, Nyla Festejo, James Lanante, Carlon Matobato, Eli Namoc, Reggie Ondevilla, Air Paz, and Ada Tayao.

 

Eugene Domingo and ensemble

Joshua Lim So, JC Santos, Melvin Lee

Guided by the vision of Maribel Legarda and written by Chris Martinez, the production is brought to life by a dynamic creative team including: Assistant Director Johnnie Moran; Set and Costume Designer Gino Gonzales; Deputy Costume Designer Martha Cruz; Assistant Set Designer Leslie Centeno; Lighting Designer Barbie Tan-Tiongco; Sound and Music by Angel Dayao; Lyricist Michelle Ngu Nario; Choreographer Raflesia Bravo; and Video Design and Mapping by Bene Manaois.

Theater About Theater—Bold, Daring, Unmissable

Structured as a “play within a play,” Septic Tank 4 explores the process of theater-making, with actors portraying heightened versions of themselves and blurring the line between reality and performance. It is irreverent and unapologetically meta, filled with humor, spectacle, and playful commentary.

In a time of endless content and streaming options, Ang Babae Sa Septic Tank 4 serves as a reminder of what live theater uniquely offers: the thrill of immediacy, shared laughter, and the magic of experiencing a story unfold in real time. It reminds us that live theater is personal, powerful, and can only be experienced in person.

As Legarda puts it, “This production is an invitation: to laugh, to reflect, and to engage.” With its fearless humor and powerhouse ensemble, the show invites audiences to think, respond, and rediscover the power of live theater.

Ang Babae Sa Septic Tank 4: Oh Sh*t! It’s Live Sa Cheter! will run for 50 shows from June 19 to August 16, 2026, at the PETA Theater Center. Matinee shows are at 2:00 pm, evening shows at 7:30 pm.

Ticket prices are P3,500 (VIP), P2,800 (Orchestra and Balcony Center), P2,500 (Orchestra Side), and P1,800 (Balcony Side).

For more updates, follow @petatheater on social media.

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Bodies That Speak: Faith, War, and Survival in PETA's Control+Shift

Philippine Educational Theater Association once again proves its strength in socially grounded storytelling with the Set B of Control+Shift —a moving collection of performances that reflect the realities of struggle, resistance, and survival. Through two distinct yet thematically connected pieces, the production delivers narratives that are both intimate and deeply political.

“At Nagkatawang-Tao ang Verbo” feels especially resonant, coming fresh from the season of Lent. The piece draws a powerful parallel between the Passion of Christ and the lived experiences of ordinary citizens from Navotas and Malabon. By weaving the structure and tone of the Pasyon into its storytelling, it elevates the suffering of marginalized communities into something both sacred and urgent. Much like how Christ stood against the Pharisees, the play reflects the quiet yet persistent resistance of the powerless against those in authority. It is a painful mirror of reality—one that does not attempt to soften its message, but instead confronts the audience with the truth of systemic struggle.

Tanghalang Bagong Sibol

Tanghalang Bagong Sibol

Meanwhile, “Baga ng Gumuguhong Langit” shifts the focus to the lives of children caught in the crossfire of war. Despite its relatively minimal script, the piece is rich in meaning. The repeated words “tago” (hide) and “takbo” (run) take on dual significance—at once evoking the innocence of children’s games and the urgency of survival in a war-torn environment. This contrast heightens the emotional weight of the narrative, showing how conflict distorts even the most basic aspects of childhood.

Rona Manio, Rei Millete, Wade Dizon and Ada Tayao

Rei Millete

What ties both pieces together is their reliance on physical storytelling. Even without heavy dialogue, the performances communicate clearly through movement, expression, and music. The actors bring depth and texture to their roles, proving that sometimes, the body speaks louder than words. The choreography and sound design work hand in hand to create an immersive experience that allows the audience to feel, rather than just understand, the stories being told.

This connection is further deepened through the recurring imagery reminiscent of the Pietà—a mother cradling a lifeless body. In both productions, this visual language becomes instantly familiar and emotionally charged for a largely Filipino, Catholic audience. It transforms individual loss into a collective experience of grief, echoing not only religious suffering but also the everyday tragedies faced by marginalized communities. The Pietà image bridges the sacred and the secular, reinforcing how these stories of pain and sacrifice are not distant—they are happening here and now. 

Tanghalang Bagong Sibol - At Nagkatawang-Tao ang Verbo

Ada Tayao and Wade Dizon - Baga ng Gumuguhong Langit

Ultimately, Control+Shift (Set B) is not just a theatrical presentation—it is a call to witness. It reminds us that behind every headline are real people, real suffering, and real acts of courage. In stripping down its narratives to their emotional core, the production leaves a lasting imprint: that even in the face of oppression and destruction, the human spirit continues to resist, endure, and hope.

PETA's Control+Shift (Set B) runs on select dates until April 19 at the PETA Theater Center.

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PETA’s Control + Shift: Changing Narratives StudioLab A Brave Exploration on Narrative Change

With a decades-long commitment to telling Filipino stories, the Philippine Educational Theater Association (PETA) is once again redefining the power of People’s Theater. This April, PETA’s Control + Shift: Changing Narratives returns to the PETA Studio Theater from April 10 to 19, 2026. Featuring a "StudioLab" of fresh stories and restaging classics, the showcase invites audiences to reclaim the Filipino narrative.

Since its successful 2024 debut, followed by a month-long festival in 2025, Control + Shift: Changing Narratives has been pushing the boundaries of what theater can be. Through a unique collaboration between PETA artists, students, and community partners, this year’s StudioLab continues to tackle the tough questions of our time. It’s a creative space designed for crafting stories that confront the present, hold space for healing, and envision more humane and democratic futures.

This year, Control + Shift: Changing Narratives StudioLab presents two new works, a product of the PETA Artist-Teacher Training, alongside two returning pieces from last year’s festival, including one developed with a theater group from a community partner. The lineup includes:

Set A: When Power Falls into our Hands
In a classroom and a workplace, people discover how easily violence, corruption, and silence can become normalized. But when power falls into our hands, we also face a choice: to comply with the system or to interrupt it.

 

CLEANERS
Playwright: Jhudiel Clare Sosa
Director: Julio Garcia

A group of senior high students discovers that their graduation depends not just on cleaning classrooms but on how far they’re willing to go when violence, power, and truth land in their hands.

MONIT-OH! MONIT-AH! (Restaging)
Playwright: Herlyn Alegre
Director: Norbs Portales

A forum theatre piece that follows Jaylord, a rookie waiter hoping to win his boss’s favor through a Christmas monito-monita gift, only to uncover how seemingly harmless acts can feed into the larger, corrupt palakasan system—until one brave decision challenges the cycle.

Set B: When Care Becomes Survival
In war-torn landscapes and communities living at the edge of disaster, care becomes something embodied… shared through faith, ritual, play, and collective endurance.

 

Tanghalang Bagong Sibol’s AT NAGKATAWANG-TAO ANG VERBO (Restaging)
Playwright: Mikaela Regis
Director: Anthony Cruz

In a small urban fishing community along Ilog Tullahan, religious icons and biblical imagery come alive—not as distant saints, but as reflections of the people themselves—revealing how faith becomes flesh in the daily struggle for dignity, livelihood, and hope.

BAGA NG GUMUGUHONG LANGIT
Playwright: Anj Heruela
Director: Ian Segarra

Amid the chaos of war, orphaned children fight to survive in a world that has forgotten them, begging for care from communities pushed to the fragile edges of survival.

BE PART OF THE SHIFT!

Tickets are now available via Ticket2Me or bit.ly/CS2026Tickets. Rates are at Php 700 per set. For more updates, follow @petatheater on social media.

Complete Show Dates

Set A
Fri, 10 Apr. 2026 - 2:00 PM
Fri, 10 Apr. 2026 - 7:00 PM
Sun, 12 Apr. 2026 - 2:00 PM
Sat, 18 Apr. 2026 - 7:00 PM
Sun, 19 Apr. 2026 - 7:00 PM

Set B
Sat, 11 Apr. 2026 - 2:00 PM
Sat, 11 Apr. 2026 - 7:00 PM
Sun, 12 Apr. 2026 - 7:00 PM
Sat, 18 Apr. 2026 - 2:00 PM
Sun, 19 Apr. 2026 - 2:00 PM

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PETA Unveils the Lead Cast of Ang Babae Sa Septic Tank 4

The wait is over! Meet the powerhouse cast headlining one of this year’s most anticipated productions.

The Philippine Educational Theater Association (PETA) officially announces the headlining cast of Ang Babae Sa Septic Tank 4: Oh Sh*t! It’s Live Sa Cheter! running from June 19 to August 16, 2026, at the PETA Theater Center.

From two iconic films to a hit series, Ang Babae Sa Septic Tank has become beloved for its hyperreal, meta commentary on arts, culture, and society. The first film skewered the indie movie scene, the second tackled mainstream cinema, and the third confronted historical revisionism. This fourth installment turns its sharp gaze toward theater, but it doesn’t just peek behind the curtain; it tears it down entirely, exposing the messy, hilarious, and painfully relatable process of making theater in the Philippines today.

At the center of the mayhem is Eugene Domingo, returning as a gloriously amplified version of herself—navigating ego, ambition, and the beautiful absurdity of mounting a live show. Long celebrated for her fearless comedic brilliance, Domingo once again anchors the franchise with razor-sharp wit and impeccable timing.

Joining her is a powerhouse lineup of theater-makers, all portraying exaggerated reflections of their real-life roles in the industry. Meann Espinosa, Stella Cañete-Mendoza, Andoy Ranay, and JC Santos step in as unapologetic artistas caught in the whirlwind of creative clashes and theatrical excess.

 

 
Meann Espinosa, Stella Cañete-Mendoza, Andoy Ranay, and JC Santos

Behind the scenes—but very much in front of the live audience—is Melvin Lee as the ever-resourceful (and ever-stressed) producer attempting to keep the production afloat. Marlon Rivera, who directed the franchise’s first three installments, steps into the chaos as the director within the play, while Joshua Lim So takes on the role of the resident playwright caught between revisions, rewrites, and relentless creative debates—desperately trying to keep his script, and his sanity, intact.

 

Melvin Lee, Marlon Rivera and Joshua Lim So

The show is written by Chris Martinez, the creative force behind the first three Septic Tank installments. It will be directed by Maribel Legarda, who helmed PETA’s hit productions Rak of Aegis and One More Chance The Musical, with assistance from up-and-coming director Johnnie Moran.

Set and costume design is by Gino Gonzales, with music and sound design by Teresa Barrozo.

Metrobank credit cardholders will enjoy exclusive first access to tickets from February 27 at 10:00 AM to March 3 at 11:59 PM via TicketWorld. A Waitlist Sale follows from March 4 at 10:00 AM to March 5 at 11:59 PM for patrons who signed up last December 2025, with the General Public Sale beginning on March 6 at 10:00 AM.

Tickets will be available via TicketWorld or bit.ly/SepticTank4Tickets.

Ticket prices are P3,500 (VIP), P2,800 (Orchestra and Balcony Center), P2,500 (Orchestra Side), and P1,800 (Balcony Side). Audiences are encouraged to create their TicketWorld accounts in advance, as tickets are expected to sell out fast.

For more updates, follow @petatheater on social media.

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Tickets for PETA’s Ang Babae sa Septic Tank 4 Goes Live Starting Feb 27

Metrobank Credit Cardholders get first access to tickets for PETA’s most anticipated show of 2026

Ticket selling officially begins on February 27 for the Philippine Educational Theater Association’s (PETA) biggest theatrical event of 2026, Ang Babae Sa Septic Tank 4: Oh Sh*t! It’s Live Sa Cheter! —with Metrobank credit cardholders enjoying exclusive first access to the highly anticipated production.

Excitement is already building as fans eagerly await their chance to see Ang Babae Sa Septic Tank come alive on stage. After two blockbuster films and a hit series, the beloved satire makes its long-awaited return—this time with sharper humor, bolder commentary, and all the chaos that can only happen in a live theater setting.

Widely regarded as one of the most iconic performers of her generation, Eugene Domingo reprises her role, bringing her sharp comedic brilliance and fearless energy back to live theater. Her comeback has been eagerly awaited by fans and theater lovers alike, making this production not just a new chapter in the franchise but a landmark event celebrating her enduring impact on Filipino storytelling.

As the Official Bank Partner of PETA’s 58th Theater Season, Metrobank marks its third year of partnership by continuing to champion original Filipino works that push creative boundaries, spark national conversations, and support local artists and homegrown storytelling.

 

Metrobank credit cardholders can enjoy exclusive presale access from February 27 at 10:00 AM to March 3 at 11:59 PM via TicketWorld.

A Waitlist Sale follows from March 4 at 10:00 AM to March 5 at 11:59 PM, open to patrons who signed up last December 2025, while the General Public Sale begins on March 6 at 10:00 AM.

 

Written by Chris Martinez and to be directed by Maribel Legarda, Ang Babae Sa Septic Tank 4: Oh Sh*t! It’s Live Sa Cheter! will run for 50 shows from June 19 to August 16, 2026, at the PETA Theater Center.

Ticket prices:

• P3,500 (VIP)
• P2,800 (Orchestra and Balcony Center)
• P2,500 (Orchestra Side)
• P1,800 (Balcony Side).

Audiences are encouraged to create their TicketWorld accounts in advance, as tickets are expected to sell out fast.

For more updates, follow @petatheater on social media.

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Twinbill Show "Kislap at Fuego" and "Children of the Algo" returns at the PETA Theater Center

After their debut at PETA Control + Shift: Changing Narratives in 2024 and 2025, the bold experimental works “Kislap at Fuego” and “Children of the Algo” are officially making their return to the stage from January 27 to February 7, 2026, at the PETA Theater Center. Moving from the experimental fringes to the spotlight, these two productions will headline the Philippine Educational Theater Association’s (PETA) Main Theater Season as a highly anticipated twinbill performance.

Originally born in 2024 as raw pieces for the Control + Shift LIVE shows, both works evolved into fan favorites. Their success led to a featured showcase at the Control + Shift: Changing Narratives Festival 2025, where they cemented their reputation for challenging the status quo.

Now in its third installment and welcoming broader audiences from educational institutions and the public alike, this compelling double feature bridges historic mysticism with contemporary digital realities.

Dominique La Victoria’s “Kislap at Fuego,” directed by Maribel Legarda and J-mee Katanyag, with Filipino translation by Gentle Mapagu, revolves around an unexpected fairytale between a kapre and a country girl, set amidst the Philippine Revolution against Spain. This play explores how we talk about love, rebirth, and revolution.

Mixkaela Villalon’s “Children of the Algo,” directed by Johnnie Moran, delves into the lives of Gen Z content creators, hiding their deeper realities while navigating the digital age with wit and vulnerability, challenging viewers to see beyond the algorithm.

In contrast, Children of the Algo casts audiences into the mediated world of Gen Z content creators, where identity is curated, justice is hashtagged, and meaning is constantly negotiated within and against the logic of the algorithm. Here, the contemporary quest for relevance, connection, and truth plays out in bite-sized feeds and viral narratives.

Presented as a twinbill, these works invite reflection on how Filipino values persist, adapt, or are contested across generations. By placing folklore beside feeds and myth beside memes, this pairing embodies PETA Control + Shift’s narrative change approach—asking how tradition and technology collide, converse, and co-exist, and how Filipinos continue to imagine revolution in a rapidly shifting world.

For more information on Kislap at Fuego and Children of the Algo, including performance dates, ticketing, and educational engagements, visit PETA’s official channels and social media.

Complete Show Dates
Tue, 27 Jan. 2026 - 9:00 AM
Wed, 28 Jan. 2026 - 11:00 AM
Thu, 29 Jan. 2026 - 11:00 AM
Thu, 29 Jan. 2026 - 4:00 PM
Fri, 30 Jan. 2026 - 9:00 AM
Fri, 30 Jan. 2026 - 4:00 PM
Sat, 31 Jan. 2026 - 9:00 AM
Sat, 31 Jan. 2026 - 2:00 PM
Tue, 3 Feb. 2026 - 9:00 AM
Wed, 4 Feb. 2026 - 9:00 AM
Thu, 5 Feb. 2026 - 9:00 AM
Thu, 5 Feb. 2026 - 2:00 PM
Fri, 6 Feb. 2026 - 9:00 AM
Fri, 6 Feb. 2026 - 3:00 PM

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