Review: 'Ang Babae sa Septic Tank 4' is a celebration of Philippine theater in all its glorious mess

More than a decade after "Ang Babae sa Septic Tank" became one of Philippine cinema’s most recognizable satires, the franchise has found another stage—literally.

Following two films and a mini-series, "Ang Babae sa Septic Tank 4: Oh Sht! It’s Live sa Cheter!" makes the leap to live theater under PETA, bringing the franchise’s familiar brand of self-aware humor into a medium it has long poked fun at.

Honestly, the transition feels natural.

This time, Eugene Domingo plays an exaggerated version of herself, leading an ambitious production of Aurelio Tolentino’s "Kahapon, Ngayon at Bukas." Around her are directors, actors and theater practitioners also portraying fictionalized versions of themselves, resulting in a play-within-a-play that constantly blurs the line between rehearsal, performance, and reality.

The setup gives playwright Chris Martinez plenty of room for satire, and for most of its two-and-a-half-hour runtime, it works.

The audience I watched it with was already invested before the show even began. With several performances sold out, the atmosphere inside the PETA Theater Center was electric, and the production capitalizes on that energy almost immediately. It rarely goes more than a few minutes without landing a joke, whether it’s aimed at Philippine cinema, theater culture, politics, celebrity personalities, Gen Z slang or the country’s never-ending news cycle.

Some references naturally hit harder than others. Theater regulars will likely appreciate the industry jokes and backstage humor more, but newcomers aren’t left out. The comedy remains accessible because it doesn’t rely solely on insider references.

As expected, Eugene carries much of the production.

As expected, Eugene remains the production’s biggest draw. Long known as one of the country’s finest comedic actresses, she proves that her timing translates seamlessly to the stage. Every pause, breakdown and perfectly timed punchline lands naturally, even in the show’s most chaotic moments. It’s a reminder that while audiences have loved her on screen for years, live theater reveals another layer of her craft.

But "Septic Tank 4" doesn’t revolve around Eugene alone. Melvin Lee, Andoy Ranay, Meann Espinosa, JC Santos, Stella Cañete-Mendoza, Joshua Lim So, and Marlon Rivera are all in on the joke, playing exaggerated versions of themselves with impressive comic timing and chemistry.

Even the Ugeng-gengs are equally essential. More than serving as Eugene’s loyal troupe, they inject youthful energy into the production through well-executed choreography, ensemble work and scene transitions. Even without lengthy dialogue, they become an indispensable part of the show’s controlled chaos, making the world of "Septic Tank 4" feel fuller and more dynamic.

Where the play becomes more interesting, however, is beneath all the jokes.

The play doesn’t simply laugh at artists—it also examines the realities behind Philippine theater. It acknowledges the compromises involved in staging productions, the creative clashes behind the scenes, and the commercial realities facing the industry today. One observation that resonates is its suggestion that musicals currently draw larger audiences than straight plays, reflecting a conversation many local theater practitioners have openly discussed in recent years.

Instead of turning these observations into heavy-handed commentary, the production allows them to emerge naturally through comedy.

Still, the show isn’t without its weaknesses.

Its rapid-fire references can occasionally feel excessive, and because the material is so rooted in current events and pop culture, some jokes may not age as well as others.

Fortunately, the production never completely loses sight of its central idea.

Despite the literal mess—yes, involving plenty of fake poop—the satire remains pointed. The absurdity isn’t there simply for shock value; it’s another way of exposing the egos, contradictions, and compromises that come with creating art.

In the end, "Ang Babae sa Septic Tank 4" isn’t trying to reinvent the franchise. Instead, it successfully adapts its signature humor to a different medium while paying tribute to the theater community it affectionately critiques.

It may not be as consistently sharp as its best moments suggest, but it remains an entertaining production that understands exactly what made "Septic Tank" resonate in the first place: the willingness to laugh at the industry without completely losing its tenderness for it.

In the end, "Ang Babae sa Septic Tank 4" feels less like another sequel and more like a celebration of Philippine theater at a time when it is enjoying renewed attention. Messy, loud, and unapologetically Filipino, it’s a reminder that behind every production is a community constantly finding ways to keep the curtain rising. —CDC, GMA News