hopefully no spoilers…
Philippine Theater is shit! Tae! Tae! Tae! What happened?
I remember when theater meant straight plays that confronted society’s most pressing issues, monologues that gave voice to uncomfortable truths, and conversations that challenged us to think more deeply about the world and our place in it.
Back then, theater was a niche—expensive and far less accessible. Then came Broadway musicals and West End-inspired productions, followed by the rise of homegrown jukebox musicals that brought live theater to a much wider audience.
While I celebrate its growing popularity, I sometimes wonder if the pursuit of entertainment, spectacle, and social media virality has softened theater’s power to provoke, challenge, and transform. I miss leaving the theater not just entertained, but changed.
That’s why I enjoyed Ang Babae sa Septic Tank 4: Kahapon – framed as a play about making a play: Kahapon, Ngayon at Bukas. It turns the spotlight inward, offering a witty critique of how productions are conceived, how creative decisions are negotiated, and how the egos of actors, producers, playwrights, and directors collide behind the curtain. At times, you’re left wondering whether a line is an insider’s joke, an honest confession, or pure satire—and perhaps that’s precisely the point.
It’s also why I’ve grown to appreciate the Virgin Labfest productions by the Cultural Center of the Philippines. Their first-time plays feel refreshingly honest and fearless, unafraid to wrestle with difficult questions rather than offer easy answers. You leave the theater not with closure, but with a lingering sense of unease—questioning your own values, your assumptions, and what you would do if faced with the same choices.
Ironically, as theater continues to grow—with around 14 productions now running across Manila at one point—we’re seeing more Filipinos willing to pay premium ticket prices for the live experience. Yet many local productions still gravitate toward jukebox musicals and familiar crowd-pleasers.
I find myself wishing more playwrights would boldly engage with the defining issues of our time: the failures in flood control, political accountability, systemic corruption, and the moral compromises that shape public life. Theater has always been at its best when it dares to ask the questions everyone else avoids.
I highly recommend this play—not just for the laughter, but for the moments of introspection as you recognize pieces of yourself in its characters. It also challenges us to think about the kinds of stories we choose to watch and support.
And, of course, it’s another masterclass from Eugene Domingo. Tae ka talaga sa galing! Don’t miss this!
Live an Awesome Life with Christ,
Founder & Digital Creator, Our Awesome Planet
Disclosure: This article was written entirely by a human—reflecting my own biases, opinions, and insights—with grammar and clarity checked using AI assistance. Thank you to PETA THEATER for hosting us.
p.s. best to eat before going or after the play. check out the soulfood truck if you want to have a snack in the Peta Theater.
