When I first heard that the Ang Babae sa Septic Tank franchise was getting a theater sequel—Ang Babae sa Septic Tank 4—I was equal parts shocked, excited, and puzzled. Shocked and excited because one of my favorite Filipino franchises was finally making a comeback. But puzzled because this time, it wasn’t returning to the big screen or television. Instead, it was making the leap to the theater.
That alone was enough to pique my curiosity.
For those who have followed the franchise from the very beginning, you’ll remember that Ang Babae sa Septic Tank started as a feature film, followed by a second film, before reinventing itself as a television series for its third installment. Each entry managed to satirize the Philippine entertainment industry while adapting to a different format. So naturally, the announcement of Ang Babae sa Septic Tank 4 as a stage production left me wondering: How were they going to pull this off?
The more I thought about it, the more intrigued I became. Theater has its own language, rhythm, and limitations. So translating a franchise known for its cinematic satire into a live performance seemed like a bold creative gamble. Fortunately, my friends share the same love for theater, so it didn’t take much convincing. We booked our tickets, eager to see how Ang Babae sa Septic Tank 4 would reinvent itself once again.
Ang Babae sa Septic Tank: A Quick Overview
Before I dive into Ang Babae sa Septic Tank 4, I think it’s only fair to talk about the franchise itself. Created by Chris Martinez, this franchise uses comedy and satire to expose the quirks, contradictions, and uncomfortable truths of different facets of the Philippine entertainment industry.
The first Ang Babae sa Septic Tank film follows three filmmakers desperate to create an Oscar-worthy poverty porn film. It satirizes the pretensions and award-chasing culture of the local independent film scene. Anchored by Eugene Domingo’s unforgettable performance, the film became an instant hit, establishing a franchise that would continuously reinvent itself.
That tradition continued with Ang Babae sa Septic Tank 2: #ForeverIsNotEnough. This sequel poked fun at the formulas and commercialism of mainstream cinema. Then came Ang Babae sa Septic Tank 3: The Real Untold Story of Josephine Bracken, which was released as a seven-episode series. This third installment, on the other hand, focused on the revisionism of historical narratives.
Now, Ang Babae sa Septic Tank 4: Oh Sh*t! It’s Live sa Cheter! takes the franchise somewhere completely new: the theater. Instead of criticizing film, it sets its sights on theater. At first glance—and yes, after reading the souvenir program—it seems like a simple play about making a play. But as the story unfolds, it quickly becomes much more than that. It shines a spotlight on the people behind the production, the realities of Philippine theater, and the choices involved in creating meaningful art. At a time when Philippine theater is experiencing a resurgence, the play also becomes a reflection on how we consume and critique live performance. Like every installment before it, the laughs are just the beginning. Once they land, the play quietly asks you to confront the uncomfortable questions that lie beneath.
What is Ang Babae sa Septic Tank 4 all about?
Without giving too much away, Ang Babae sa Septic Tank 4 follows a fictionalized version of Eugene Domingo—played, of course, by Eugene Domingo herself—as she attempts to do an adaptation of “Kahapon, Ngayon, at Bukas,” a well-known play by Aurelio Tolentino, live aboard a ship in the middle of the West Philippine Sea. In a delightfully meta twist, the play you’re watching has lots of references to real life. This immediately blurs the lines between fiction and reality. It was my first time experiencing one of Tolentino’s plays, so I came in ready to immerse myself in this play-within-a-play. I’m happy to say it didn’t disappoint.
To bring her ambitious production to life, Eugene assembles a familiar roster of collaborators, all playing fictionalized versions of themselves. First is Melvin Lee, who, while a member of PETA in real life, serves as the production’s producer within the play. He is joined by Andoy Ranay, MeAnn Espinosa, JC Santos, and Stella Cañete-Mendoza, all seasoned veterans of the theater industry, as actors in the play. Joshua Lim So, a Palanca Award-winning playwright in real life, serves as the production’s playwright. Completing the team is Marlon Rivera, director of the first three Ang Babae sa Septic Tank installments, who appears as the production’s director.
Now, chaos ensues when the ever-so-typical fictionalized Eugene Domingo begins demanding changes to the original material they’re about to stage. And like its earlier installments, the story ends with Eugene drenched in fecal matter.
Created and written by Chris Martinez, the mind behind the entire Ang Babae sa Septic Tank franchise, Ang Babae sa Septic Tank 4 continues the series’ signature brand of satire. The production is directed by Maribel Legarda.
Eugene Domingo. Period.
I think Eugene Domingo’s performance was my favorite part of Ang Babae sa Septic Tank 4. It was simply out of this world.
Maybe I was just too used to watching her on television and in films. Seeing her perform live revealed a completely different side of her talent. I already knew she was a phenomenal comedian. The earlier Ang Babae sa Septic Tank films proved that. I still believe the first film cemented her as one of the finest actresses of her generation. Then came Barber’s Tales, where she reminded everyone that she could master drama just as effortlessly. Because of those performances, I thought I already knew what to expect.
Boy, was I wrong.
This fictionalized Eugene is still self-absorbed, chaotic, and delightfully over-the-top. Yet her performance constantly surprised me. One moment, she’s outrageously funny. The next, she’s unexpectedly restrained. Then she effortlessly swings back into complete absurdity. Every shift felt natural. Nothing felt forced or calculated.
What impressed me most was her command of the stage. She never relied on the fact that she’s Eugene Domingo. Instead, she completely disappeared into this exaggerated version of herself. Through her performance, we experience the exhilarating, beautifully messy world of Philippine theater. She carried the production without making it feel like a one-woman show. At times, I felt the restraint in her voice, but that didn’t stop her from this powerful performance.
And then came the ending.
I won’t spoil anything. You deserve to experience it yourself. But my God.
Saying I got chills would be an understatement. I honestly don’t remember the last time a live performance affected me this much. By the time the curtain call began, I was already tearing up. Not because the ending was tragic. But because I had just witnessed an outrageously impeccable performance.
No Weak Link in the Cast (And the Ugeng-Gengs)
Of course, Eugene Domingo wasn’t carrying the show alone. The rest of the cast was just as committed.
Andoy Ranay was an obvious standout. His quirky delivery and fourth-wall-breaking antics consistently landed. Every entrance earned a laugh.
I’ve mostly seen JC Santos in films. Watching him perform live was a completely different experience. He disappeared into the role so effortlessly. I honestly don’t know how else to explain it. He’s just that good.
Stella Cañete-Mendoza was a new name to me. After reading the souvenir program, I knew she had an impressive background in theater. Thankfully, she more than lived up to it. Her scenes had me laughing nonstop.
There’s Marlon Rivera. His performance was wonderfully understated. He never needed grand gestures to sell a joke. His dry humor and deadpan reactions were more than enough. I was sold.
Melvin Lee, on the other hand, was marvelous in his role as a producer. After discovering his part works, I knew he was a force to be reckoned with. And he showed that perfectly on stage. He commanded the stage with every scene he’s in.
Joshua Lim So also impressed me. I wasn’t familiar with him before this production. Ironically, he plays the playwright, just as he is in real life. That familiarity gave his performance remarkable authenticity. As the story unfolded, I genuinely felt his frustrations and struggles.
MeAnn Espinosa deserves just as much praise. Even without the flashiest role, she always commanded attention. She held her own alongside an already stacked cast. That’s not an easy feat.
And can we talk about the Ugeng-gengs? They were absolutely hilarious. Their energy never dipped. Their musicality and comedic timing were consistent. I recognized several faces from previous PETA productions. Seeing them again felt like a treat.
Overall, this cast was stacked from top to bottom. I honestly can’t imagine how demanding this run must be. No understudies are playing “another” version of themselves. That illusion would immediately fall apart. So, major props to everyone involved. I genuinely hope they finish the run just as strong.
A Satire that Stays With You
From this point onward, I’ll be touching on a few story details. Nothing too major, but if you’re avoiding spoilers, this is your cue.
What impressed me most about Ang Babae sa Septic Tank 4 is that it never felt like a cash grab. It would have been easy to rely on the franchise’s popularity. Instead, it gives the series a fresh purpose. This time, it turns its attention to Philippine theater itself.
The play critiques both sides of the stage. It questions the artists creating the work. It also questions the audiences consuming it. What kinds of stories do we reward? Which productions receive attention? How much of our taste is shaped by branding, reputation, or hype?
Those questions stayed with me long after the curtain fell. That’s always a good sign.
I especially appreciated how the critique was woven into the comedy. The satire rarely felt preachy. Instead, it trusted the audience to connect the dots. I found myself laughing first, then realizing why I was laughing moments later. That’s exactly what good satire should do.
Some of those ideas remained just as prominent throughout the second act. Although the opening felt especially sharp and fearless, later scenes shifted their focus toward specific commentaries on the art we consume hidden behind Eugene’s increasingly chaotic decisions.
That said, the play never loses sight of what it wants to say. It celebrates theater while questioning it. It embraces the messiness of creating art without pretending the industry is perfect. I honestly hope more people watch it with an open mind. Whether you’re an artist, a theater fan, or simply curious, there’s something here worth reflecting on. More than the laughs, I hope the conversations continue long after everyone leaves the theater.
A Production That Knows Exactly What It’s Doing
Production-wise, I honestly don’t have anything negative to say. Everything just worked.
The stage design was incredibly well thought out. Every inch of the space felt purposeful. Nothing felt wasted. I especially loved how the set kept transforming without requiring massive scene changes. It was simple, clever, and surprisingly versatile. To me, that’s the beauty of theater. You don’t always need elaborate sets to create something magical. Sometimes, all it takes is smart staging and creative direction.
The costumes were equally impressive. They were vibrant, expressive, and perfectly matched each character’s larger-than-life personality. They never distracted from the performances. Instead, they became another tool for storytelling.
And my God, the music.
I genuinely wasn’t expecting to laugh this much during musical numbers. Yet there I was, laughing at the lyrics one moment and admiring the choreography the next. The songs weren’t just entertaining. They pushed the story forward while delivering some of the show’s funniest moments. On the other hand, the choreography deserves its own applause. It was energetic, synchronized, and full of personality. Every number felt alive. You could tell everyone on stage was completely committed.
Perhaps what impressed me most was how every production element worked together. The set, lighting, music, costumes, choreography, and performances all served the same story. Nothing felt excessive. Nothing felt like it existed just to show off.
People Behind the Production
Wrapping Up
Wrapping things up, Ang Babae sa Septic Tank 4: Oh Sh*t! It’s Live sa Cheter! deserves all the flowers it’s been receiving. The long standing ovation after, very much deserved! It’s one hell of a theater production, and I genuinely believe it deserves to be seen by as many people as possible.
The best part? You don’t need to watch the first three installments to enjoy it. Of course, longtime fans will appreciate the callbacks and inside jokes. But even as a standalone production, it works remarkably well.
If someone asked me to watch it again tomorrow, I’d say yes without hesitation. That’s how much I enjoyed the experience. It’s hilarious, chaotic, thought-provoking, and surprisingly heartfelt. More importantly, it reminds us why live theater remains such a powerful medium for storytelling.
So, congratulations to Chris Martinez, Eugene Domingo, PETA, and everyone involved in bringing Ang Babae sa Septic Tank 4 to life. You created something that doesn’t just entertain. It challenges, provokes, and lingers long after the curtain falls.
Ang Babae sa Septic Tank 4 runs from June 19 to August 16, 2026, at the PETA Theater.
