LAST DANCE: HUBO'T HUBAD adds four more shows this November at Halxyon Club

The dance is not over just yet!

Following its previous performances, JAPS Collectives and World Theater Productions Guam / Manila announce four additional shows of LAST DANCE: HUBO'T HUBAD on November 8, 12, 21, and 28, 2026, at 7:30 PM at Halxyon Club in Poblacion, Makati City.

Written and directed by Jojo Urquico, the queer ensemble play takes audiences inside the dressing room of a struggling male revue bar on what could be its final night. As the performers prepare for one last show, they confront their personal struggles, abandoned dreams, hidden identities, and the sacrifices they have made to survive.

Blending humor, music, intimate confessions, and sensual performances, LAST DANCE looks beyond the glitter and physical allure of the performers to reveal the vulnerabilities of five men searching for acceptance, love, and a place to belong.

The extended run features Gerald Magallanes and Lance Cabradilla alternating as Ace, the fearless performer, alongside Paolo Domingo as Jay, John Segui as Dodong, Kriszan Manipon as Mark, and Robbie Padilla as Rafa.

Ysmael Suarez also joins the production as Josh, with Jem-Jem Ria Lopez as Mama Lou and Fewsha Umber and Lexie Eera as the Halxyon Queens.

The production is led by Urquico, whose international theater credits include Miss Saigon, Rent, Romeo & Juliet, and Die Zauberflöte. LAST DANCE marks his first original play as a writer, with the artist taking on the roles of playwright and director.

The creative team also includes Alex Garcia as Production Manager, Prince Beating as Co-writer and Stage Manager, Christian Magallanes as Assistant Stage Manager, and Martin Del Rosario for Sound and Lighting Design and Graphic Design.

Beyond its theatrical presentation, LAST DANCE also supports LGBTQIA+ advocacy. LoveYourself serves as the production's advocacy partner and will receive a portion of the ticket sales from the November 8 performance to support its community initiatives.

The production is made possible with the support of iSKin Aesthetic Lifestyle, U Hotels, Studio QZ, STAG, Duality, Manjam, and Halxyon Club.

LAST DANCE: HUBO'T HUBAD will have its extended performances on Sunday, November 8; Thursday, November 12; Saturday, November 21, and 28, 2026, at 7:30 PM at Halxyon Club, Poblacion, Makati City.

Tickets are priced at ₱700, ₱800, and ₱1,000, available through Ticket2Me.

Content Advisory: Strictly for adult audiences aged 18 and above. The production contains mature themes, sensual performances, and partial and full nudity presented within a theatrical context.

Five men. One stage. Stories that go beyond what meets the eye.

For those who have yet to experience LAST DANCE: HUBO'T HUBAD, the November performances offer another opportunity to witness this intimate theatrical production. Because sometimes, the stories behind the performance are worth staying for long after the music stops.

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Echoes of San Diego: Dulaang UP’s Fiestas y Muertos makes Rizal’s Masterpiece feel Alive

Dulaang UP opens its 49th theatre season with Fiestas y Muertos, a bold production staged in remembrance of the upcoming 130th death anniversary of Dr. Jose Rizal. Directed by José Estrella, this adaptation revives Rizal’s iconic novel, Noli Me Tangere, and turns it into an immersive reflection on Philippine society, power, and freedom.

Watching the show felt like taking a trip down memory lane. It brought back every scene, character, and chapter studied during high school. Seeing the characters walk and speak right in front of the audience made the classic literary scenes feel clear, urgent, and deeply human again.

There is a place in Pililla, Rizal area called the San Diego de Alcala Parish, that sparked my imagination during the show. It made me reflect on how Rizal himself traveled across Laguna de Bay heading toward Antipolo and Manila during his time, bridging the physical geography of his youth directly to the world of the play.

One of the most memorable parts of the production happens before the story even begins because you enter the venue directly through the stage. Walking across the performance space to reach your seat sets a unique tone for the entire evening. It immediately breaks the wall between the actors and the audience, making you feel as though you are stepping straight into the world of San Diego.

Without a doubt, this stands out as the best and most compelling production of Noli Me Tangere I have experienced, largely driven by its brilliant ensemble cast. Jerom Canlas gives Crisostomo Ibarra a grounded, deeply human energy. Rather than portraying him as a passive hero, Canlas highlights Ibarra's internal struggle between his love for his homeland and the crushing weight of systemic oppression. Justine Peña reclaims Maria Clara from the tired stereotype of a fragile heroine, bringing a delicate strength and quiet resistance to the role while anchoring the tragic heart of the story alongside Canlas.

The antagonists are portrayed with chilling nuance. Jojo Cayabyab captures Padre Damaso’s overbearing arrogance and blustering authority, making him an imposing presence every time he steps into view. In contrast, Joseph Pe’s Padre Salvi is quietly unsettling, playing the friar with a restrained, creeping malice that emphasizes the corrupt power of the clergy. Meanwhile, the tragedy of Sisa’s family serves as the emotional anchor of the play. Iris Montesclaros delivers a heartbreaking performance as Sisa, charting her descent into grief with painful authenticity, while Quiel Campo as Basilio and Daphne Galang as Crispin bring a raw, vulnerable purity that makes their suffering feel deeply personal.

The visual design complements these performances through wonderfully inventive choices, using a creative set, dynamic lighting, and clever movement to transform simple props into vivid scenes of grand feasts and dark, quiet moments. Based on the Filipino translation by National Artist for Literature Virgilio S. Almario, the script breathes fresh energy into Rizal’s words. Instead of feeling like a dry textbook lesson, the language feels sharp, clear, and relevant to modern viewers. I truly believe students will take Noli Me Tangere much more seriously after seeing this version, as it shows how deeply Rizal's message still connects to our lives today.

The production runs from October 23 to November 15, 2026, at the IBG-KAL Theatre, UP Diliman, Quezon City. Friday shows are at 7:00 PM, while Saturday and Sunday shows run at 2:00 PM and 7:00 PM. Regular ticket prices are PHP 1,200, with discounted rates of PHP 960 for PWD, Senior Citizens, UP Alumni, and non-UP Students, and PHP 690 for the UP Community on Friday performances.

Don't miss the chance to experience Philippine literature come alive on stage! Whether you are a student rediscovering Rizal's work or a theater lover looking for an unforgettable show, Fiestas y Muertos is a must-watch. Book your tickets now by visiting Dulaang UP's official social media pages or emailing the Dulaang UP Marketing Team at dulaangup.marketing.upd@up.edu.ph. Grab your seats before the run ends on November 15!

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Theater Review: LAST DANCE: Hubo't Hubad Strips Down More than Just Clothes

LAST DANCE: Hubo't Hubad at Halxyon Club in Poblacion, Makati City brings raw energy to the stage, featuring a main cast with Kriszan Manipon as Marky, Robbie Padilla as Rafa, Paolo Domingo as Jay, John Segui as Dodong, and Lance Cabradilla as Ace, along with Jem-Jem Ria Lopez as Mama Lu, Ysmael Suarez as Joshua, Fewsha Umber, and Lexie Eerra.

Holding the performance inside Halxyon Club turns out to be a great choice for the venue. Watching a drag show presented as a true art form for the first time is surprisingly captivating, and the opening acts do a wonderful job of pulling the audience into the experience. But the mood shifts quickly when the main cast enters. The dancers start walking right up to the crowd to grind and interact closely with people. For a first-time viewer, it can be quite a shock, and anyone sitting a few rows back will probably feel relieved to watch the action from a safe distance.

The actual story kicks off after a "raid," which brings out the personal struggles and drama of the five main characters. While the cast gives it their all, the plotlines feel very familiar, using tropes that many viewers have already seen in similar local LGBTQ+ indie films. Money problems and personal identity serve as the common thread connecting everyone. Marky works as a police officer but takes on dancing to bring home a better income for his family. Ace has grown to enjoy the work because he has built up a steady crowd of regular customers. Dodong is in a similar boat, though he secretly hopes to find a job that matches the degree he finished. Rafa dances purely out of survival, since the club is the only place willing to hire him at his age. Meanwhile, Jay uses his natural talent for dance to escape a dark past, having run away from home at a young age after dealing with childhood trauma.

The play also touches on other familiar issues like abuse, health struggles, and jealousy between coworkers, such as a heated argument where Dodong and Ace nearly fight over a shared client. The show makes a good point that despite their fit bodies and the tough image they put on for clients, these dancers are still fragile and vulnerable people. However, the story itself feels like it lacks depth. Across the hour-long runtime of talking and backstories, the plot turns out to be pretty predictable and standard.

For people who aren't used to seeing full nudity and intense adult themes up close on stage, the show leaves you with a mix of different emotions. Even if the storyline could have been a bit deeper, the brave performances and the unique venue make for an interesting night out. The show runs until October 29 at Halxyon Club in Poblacion, Makati City.

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I came for a theater show. Moryon gave me a history lesson.

How did Filipinos celebrate Holy Week during the Japanese-American War? What happens when faith, fear, and love for country meet in the middle of war?

These questions come alive in “Moryon,” the latest production of the Far Eastern University Theater Guild (FEU Theater Guild). An adaptation of Guy de Maupassant’s Mother Sauvage, the play uses a story of war and revenge to awaken a sense of patriotism among today's generation.

As soon as you enter the theater, FTG already knows how to set the mood.

There is already someone on stage. Caridad, played by Ysabel delos Reyes, is quietly doing something that immediately makes you curious. What is she doing? Why is she there? And how will this connect to the story?

 

This is one of the things I enjoy about FTG productions. Similar to Karne, Moryon is not only something you watch. It is a multi-sensory experience. You see what is happening, hear the sounds around you, and even smell what is being cooked in the kitchen.

Director Dudz Teraña intentionally placed the kitchen on stage, and it adds another layer to the experience. And yes, the food smells really good. It makes the setting feel more alive and familiar, while also making you feel like you have entered the world of these characters rather than simply watching them perform.

Another detail that stood out is how well the cast handled the Marinduqueño accent. It feels natural and consistent throughout the performance. The use of the Japanese language also adds to the atmosphere, making the wartime setting feel more grounded.

But the emotional weight of Moryon truly comes through in its characters.

One of the hardest scenes to watch is Joaquin's torture scene played by Aldin Covarrubias. I shed a tear because of how realistic and emotional it felt. The pain was not presented simply as violence for shock value. You could feel the fear and helplessness of the character. What makes it even more painful is learning how Joaquin was also tortured by his own father when he was a child. His suffering is not limited to what happens during the war. It is part of a much deeper wound.

Then there is Marta, played by Margarita Barrameda, who quickly became one of my favorite neighbors. She is that one person in the community who is always nervous, always talking, and always trying to warn everyone about what could happen. But just like in real life, people around her tend to ignore her warnings. Her character brings some humor and energy to an otherwise heavy story, while also showing how people can sometimes recognize danger before everyone else does.

At the center of the story is Caridad, and Ysabel delos Reyes gives the character a strong emotional journey. Her revenge monologue is brave, powerful, and one of the moments that stayed with me after the show.

I also could not help but think about her name. Caridad means compassion or charity, but the character's journey takes her through a level of pain that eventually turns into anger. At the beginning, she seems almost indifferent to the things happening around her. But when something terrible happens to her son, Joaquin, we see that change. Her pain becomes anger, and that anger eventually drives her to revenge.

What I appreciated most is that the monologue does not feel forced or overly dramatic. It feels earned because we have seen the character's emotions build throughout the story. You understand why she reaches that point, even as you are confronted with the consequences of her actions.

Esteban, played by Dave Bambang, is another character who may frustrate you at first. His cooperation with the Japanese forces makes him easy to dislike, especially when you see how his actions affect the people around him. But as the story develops, you begin to understand that his intentions are more complicated. He believes he is preparing something for the good of his fellow Filipinos, even if his method involves working with the enemy.

Dave Bambang, Ysabel delos Reyes, Edrud Madalan (young Joaquin), and director Dudz Teraña

His character brings another difficult question into the story: Can something that looks wrong on the surface still come from a desire to protect others?

Moryon does not give simple answers. Instead, it puts its characters in situations where faith, family, survival, and patriotism are constantly tested.

And perhaps that is what makes this production relevant today.

The story may be set during the Japanese-American War, but its questions about love for country, sacrifice, revenge, and the price of protecting the people we care about still feel familiar. By Filipinizing Mother Sauvage and placing it within the culture and traditions of Holy Week, the production creates a story that feels deeply rooted in our own history and identity.

Moryon is not simply a story about war. It is a story about what war can bring out of people.

It asks us to look at the different faces of courage: the courage to fight, the courage to protect, the courage to endure, and sometimes, the courage to face the consequences of our own choices.

With its strong performances, carefully built atmosphere, multi-sensory staging, and emotional storytelling, FEU Theater Guild's Moryon gives audiences more than a historical story. It gives us a reason to look back at the past and think about what patriotism means to us today.

Moryon opens October 1 at the FEU Center of the Arts.

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Tagay Para sa Ex: When One Simple Get-Together Brings Everything Out

What starts as a simple, supposed-to-be good and friendly gathering can quickly turn into something you never expected. That is what makes “Tagay Para sa Ex” an enjoyable and relatable watch. What seems like an ordinary night with friends slowly opens up conversations about love, relationships, friendship, and the things people usually keep to themselves.

“Tagay Para sa Ex” is BoxStage Manila’s first production, written and directed by Dudz Teraña. What I liked about the play is how it takes a very familiar setting and makes you feel that you are actually part of the group. The moment you see the stage, you already get that feeling. You are not simply watching these friends talk. You feel like you are sitting with them, listening to their stories, laughing at their jokes, and waiting for the next thing that will come out. The only thing missing is the actual “tagay.”

The "tagay"-ready set

The gathering feels even more real because of the way the conversations happen. There is noise, there are different conversations happening at the same time, and people sometimes talk over each other. But surprisingly, you are still able to understand what is going on. It feels like being in a real gathering where everyone has something to say and every conversation has its own story. And just like in any friend group, there is always that one person who makes an effort to bring everyone back together. For me, that person is Buknoy Gonzales as Poch, who is probably the character I can relate to the most. Poch feels like the friend who wants everyone to be okay and keeps trying to hold the group together even when things start getting complicated.

A big part of the fun is seeing the different views on relationships, especially between #TeamGirls and #TeamBoys. Yesh Burce as Liz and Brigitta Marilla as Mich easily earn your sympathy. Their side speaks to the part of us that still believes in the kind of love we hope for. They give us the “fantasy” and the “sana ganito” moments, making you think about the kind of relationship you wish you could have.

On the other side, Jel Tarun as Benj and Kobie Hachero as Mark give us a more practical view of commitment. Their characters remind us that relationships are not only about love and staying together. They are also about growing together, supporting each other, and learning how to become better people while being with someone. Their side gives the audience a much-needed reality check.

What makes this exchange of ideas more interesting is that the characters do not stay on opposite sides for the entire play. There is a nice turnaround in the way #TeamBoys and #TeamGirls see relationships. The boys become more vulnerable and reveal how they can also hold on tightly to relationships, while the girls begin to question whether they should still continue asking for the things they want from their partners. This shift gives the play a good balance because it shows that both sides can dream, doubt, hurt, and become vulnerable.

And that balance is what makes “Tagay Para sa Ex” work. It does not try to make relationships look simple. Instead, it shows how complicated they can become when friends start talking honestly. One moment you are laughing, and the next, you are thinking about your own experiences with love and relationships.

The play is a wonderful mix of comedy and drama, set in a situation that feels very common and very modern. It is easy to connect with because you probably know people like these characters, or maybe you see a little bit of yourself in them. It feels like one of those nights when friends get together for a drink, only for the conversation to slowly become deeper than anyone expected.

That is the charm of “Tagay Para sa Ex.” It makes you laugh, gives you something to think about, and reminds you that behind every relationship story are people simply trying to figure things out.

And sometimes, all it takes is one gathering, a few friends, and a little tagay to bring everything out.

“Tagay Para sa Ex” runs until September 5.

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Mapanakit! Mga Dulang Bittersweet: Three love stories that leave quiet scars

Some love stories make you smile. Others leave you in tears. Mapanakit! Mga Dulang Bittersweet does both, reminding us that love is rarely as simple as choosing who to be with. Sometimes, it's about timing. Sometimes, it's about distance. And sometimes, it's about making difficult choices for the people you love, even when it hurts.

Produced by YPC Stage, Mapanakit! Mga Dulang Bittersweet is a moving collection of three one-act plays written by Eljay Castro Deldoc and directed by BJ Borja. Drawing inspiration from contemporary settings and regional Philippine literature, the production celebrates stories rooted in different experiences while giving them new life on the Manila stage.

Even before the curtain rises, the production already knows how to set the mood. The moment you step inside the IBG-KAL Theater, you're welcomed by a playlist of emotional hits from the '80s and early '90s. It instantly creates a nostalgic atmosphere that almost made me want to grab a microphone and sing along while reading the lyrics projected on the walls. It's a simple but effective touch that eases the audience into an evening of stories about love, longing, and heartbreak.

The cast of Mapanakit! with director BJ Borja

One of the things I appreciated most was seeing artists from Biñan coming over to tell these stories. In a theater scene often dominated by highly commercialized Metro Manila productions, Mapanakit! reminds us that some of the country's most compelling stories continue to come from the regions. More than simply entertaining audiences, the production opens a window to voices and narratives that deserve to be seen and heard by a wider audience.

Ang Liknayan ng Ating Mga Katawan

The first play follows Sir Banakon and his student Hershey Mae, portrayed by Ross Pesigan and Jury Sanchez, respectively.

Ross Pesigan and Jury Sanchez

I'll admit that I was a little conflicted during the opening scenes. I found myself frustrated by Hershey Mae's apparent indifference toward the mysterious disappearance of her classmates. Instead of immediately connecting with the story, I was distracted by the stream of scientific theories and concepts that almost felt like watching an episode of The Big Bang Theory.

Thankfully, everything changes once Sir Banakon begins sharing his own perspective. His quiet compassion slowly reveals the emotional heart of the story, reminding me that this is, after all, a love story—just not in the way I initially expected. Once I embraced that idea, the play became much more rewarding.

Its biggest takeaway? Sometimes love doesn't demand immediate answers. Sometimes, it simply waits for the right time.

Ilihan at Kalingaw

The second play stars Gab Pangilinan as Ilihan and Euden Moje as Kalingaw.

Cast of Ilihan and Kalingaw led by Gab Pangilinan and Euden Moje

This story reminded me of Filipino classics like Florante at Laura, where love is tested by circumstances much bigger than the lovers themselves. Coming from different worlds becomes Ilihan and Kalingaw's greatest obstacle, making their journey both beautiful and heartbreaking.

Among the three plays, this one offers the richest cultural experience. The production thoughtfully incorporates regional traditions into its staging, creating a visually engaging performance that celebrates Bicolano heritage without losing sight of its intimate love story.

Gab Pangilinan shines in the role, delivering her lines naturally in Bicolano before translating them into Filipino, allowing audiences unfamiliar with the language to remain emotionally connected without sacrificing authenticity.

I especially loved the ending. Rather than forcing a conventional happily-ever-after, the play immortalizes Ilihan and Kalingaw's love through poetry, suggesting that while people may be separated by fate, love can continue to live on through words and memory.

Ganito ang Pinangarap Kong Kasal

The final play features Phi Palmos as France, Loudette Barias as Kris, and Kokoy de Santos as Noel.

Kokoy de Santos, Phi Palmos and Loudette Barias

Without question, this is the most mapanakit story of the trilogy.

France and Kris share a friendship that immediately feels genuine. It's the kind of relationship many people can relate to, especially those who've experienced how years of closeness can slowly unravel because of a single life-changing circumstance. In this case, that circumstance comes in as Noel.

The first half is light, funny, and heartwarming. It lulls you into believing you're watching a feel-good story before the emotional shift arrives. You may already have an idea of where the story is heading, but knowing doesn't soften its impact. Jolina Magdangal songs were also delightfully intentionally integrated in the background that amplifies the emotions in each scene.

Maybe it's just me, but weddings always carry a different emotional weight. Here, the wedding becomes more than a celebration. It becomes a space where forgiveness, acceptance, and impossible choices collide.

When France finally says, "Ganito ang pinangarap kong kasal," the line lands exactly as it should. The performances make you hope that love will somehow find a way, only for the story to challenge your own values about commitment, family, and choosing the life that ultimately makes the most sense—even if it comes with heartbreak.

A special mention also goes to Kokoy de Santos. Despite this being only his second theatrical production, he carries himself with remarkable professionalism and confidence on stage. He blends seamlessly with seasoned theater actors, never trying to outshine them but instead serving the story and his fellow performers. It's exciting to see him continue exploring theater, and I genuinely hope this won't be his last. He has the potential to take on even more diverse and challenging roles in future productions.

It's complicated. It's painful. And it's the story that stayed with me the longest.

Mapanakit! Mga Dulang Bittersweet succeeds because it trusts the power of sincere storytelling. Rather than relying on spectacle, it allows its characters and the emotions they carry to take center stage. Each play explores a different kind of love: one that patiently waits, one that lives on through poetry, and one that asks us to let go for the sake of others.

Beyond the stories themselves, I admire what YPC Stage has accomplished by bringing regional literature and artists to Manila audiences. It's a meaningful reminder that Philippine theater extends far beyond the capital and that our regional languages, cultures, and stories deserve the same spotlight as mainstream productions.

By the time the curtain falls, Mapanakit! Mga Dulang Bittersweet leaves you with one lingering realization: not every love story is meant to have a happy ending, but the ones that hurt the most are often the ones we remember the longest.

Mapanakit! runs until August 9 with 2:00PM and 7:00PM shows. Get your tickets at ticket2me.net/mapanakit!

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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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A Cultural Homecoming: A Review of Tales of the Manuvu

Running from March 28 and 29, 2026 at the Proscenium Theater in Rockwell, Makati, Tales of the Manuvu by Alice Reyes is more than a ballet. It’s a heartfelt return to Filipino roots, told through dance and music.

The production retells the myths and legends of the Manuvu, an ethnolinguistic group from Mindanao. Its traditional prologue beautifully establishes a distinct cultural profile that constitutes Filipino identity.

The staging is simple but colorful—just like the Manuvu culture it represents. Even if the story already feels familiar, it’s still a joy to experience these stories again in this kind of performance. It brings a sense of nostalgia while making the stories feel alive.

One of the most memorable moments is hearing “Noong Unang Panahon.” Many of us know this song from our elementary days, so it’s exciting to realize that it comes from this production. It adds a personal and emotional touch to the experience.

The performers also deserve praise. Both the dancers and singers fully commit to their roles. The dancers bring the characters to life with strong and expressive movements, while the singers add depth to the story. Together, they make the storytelling clearer and more powerful.

 
 
 

 

This is not just a traditional ballet. It also includes modern movements, which makes it easier for today’s audience to connect with the performance. The mix of styles keeps it engaging while still respecting its cultural roots.

It’s also worth noting that this staging supports a bigger purpose. The March 28 show opens with a fundraising gala, where ticket sales help support the work of Alice Reyes Dance Philippines—from sustaining its dancers and artists to preserving important Filipino works.

While there are paid gala and ticketed shows, the production continues its mission of making the arts accessible by offering free admission (with registration) for select audiences.

In the end, Tales of the Manuvu is a beautiful reminder of who we are as Filipinos. It celebrates our stories and traditions in a way that feels both familiar and fresh.

With free registration available and a meaningful cause behind it, this is more than just a show—it’s an experience worth showing up for.

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Theater Review: Dulaang UP's "Ang Kaliitan ng Kasalukuyan"

Dulaang UP’s Ang Kaliitan ng Kasalukuyan takes on the familiar yet still urgent story of the overseas Filipino worker, using an intimate staging and a mix of theatrical forms to bring the experience closer to its audience. While the production succeeds in creating emotional access, it also shows some unevenness in how its ideas are carried through.

At the center is Sandino Martin as Bulan, who delivers a steady and sincere performance. He keeps the character grounded, especially in quieter moments where the weight of isolation is more felt than spoken. His portrayal becomes the anchor of the play, particularly when the material shifts between tones.

The staging works in the production’s favor. The intimate setup allows the audience to feel involved rather than just observing from a distance. Projections are used throughout and are generally well integrated, helping set the mood and context without taking attention away from the actors. These choices support the storytelling and give the play a strong visual identity.

The show also attempts to combine several disciplines, including musical elements, drama, puppetry, and advocacy. At its best, this mix adds variety and keeps the performance engaging. However, not all transitions feel smooth. Some segments stand out more than others, making the overall flow feel uneven at times. The versatility of the set helps bridge these shifts, but the structure can still feel fragmented.

The first part of the play is one of its stronger sections. It presents a relatable picture of an OFW returning home, from the frustration of traffic to the sudden closeness of family members. These moments are handled with warmth and familiarity, capturing the mix of comfort and tension that comes with going back to one’s roots. The sense of nostalgia is clear and effective, giving the audience an easy point of connection.

A key highlight is the exchange between Bulan and his older sister. Their dialogue is direct and emotionally charged, offering some of the most honest moments in the play. The sister’s lines carry insight and lived experience, and the tension between them feels real. This scene stands out because it is clear, focused, and grounded.

Ang Kaliitan ng Kasalukuyan raises important points about distance, family, and survival, but does not always sustain the same level of clarity across its runtime. It is at its strongest when it leans into simple, truthful moments rather than layered concepts.

The production runs until March 29 at the IBG-KAL Theater in UP Diliman.

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