Eugene Domingo and the beautiful chaos of Philippine theater

MANILA, Philippines, July 7 ------ Building on the film franchise that has long poked fun at the country’s obsession with awards, realism and the politics of filmmaking, “Ang Babae Sa Septic Tank 4” reinvents itself for the stage — and in doing so, becomes an entirely different beast.

On stage, it’s an important conversation, a history class on colonization, a relevant commentary on the evolution of theater, a hodgepodge of metaphors and punchlines, and a chaotic wonder filled with moments of confusion and clarity but most of all, it is a fun and hilariously brilliant show.

At the center of the two-and-a-half-hour show is Eugene Domingo, whose command of both comedy and vulnerability keeps the production constantly shifting beneath the audience’s feet. Her creative capacity to transition from satire to sincerity within seconds is undeniable. She marches up on stage as herself, as Inangbayan, as every iteration of her character and every time she does, she does so without hesitation and with all the confidence and assurance that you are not just part of watching her show — your laughter, discomfort and questions are all part of the performance as well.

Each sequence seems to spiral from absurd comedy into biting commentary one after the other in perfect timing, before the audience even realizes the joke has changed. One of the sharpest examples comes when the same scene is reenacted through the distinct styles of different Philippine theater companies. It’s both a masterclass in their artistic identities and a clever reminder that, beneath every stylistic flourish, they are ultimately anchored by the same question: What does the audience want to see?

Whether you’re a theater kid from the get-go, a fan of the franchise, or simply theater-curious, you are given a seat inside the PETA Theater to laugh. But before the laughter settles, the play quietly asks something about you. It asks what it means to be an artist, to be Filipino, to be part of a Filipino audience, and how we continue to archive, rewrite and retell our collective stories.

The impeccable ensemble delivered the right amount of outstanding (albeit outrageous) performances that complement Eugene’s multiple main character moments, and none of them shied away from owning their spotlights on stage. As seasoned actors, directors, writers and teachers, the likes of Melvin Lee, Marlon Rivera, Andoy Ranay, Stella Cañete-Mendoza, Joshua Lim So, Meanne Espinosa and JC Santos made each chaotic circumstance look and feel intentional.

The addition of the show’s band of tamed rebels called Ugeng-geng balances out Eugene’s righteous presence with a good amount of riot in every scene they’re in which makes you want to watch out for the next delightful derailment, fresh absurdity or uncomfortable truth that’s about to unfold.

More than a spectacle, “Ang Babae Sa Septic Tank 4” is a grand showcase of smart storytelling, stripped naked to show that the core of Philippine theater is not just who is telling the story, but also those willing to keep watching, listening and questioning.

Playwright Chris Martinez weaves curiosity, wit and wisdom so seamlessly while using humor as a tool to convey and leave important, thought-provoking tidbits. The play’s director Maribel Legarda echoes the vision of Marlon Rivera, the director of the past three “Ang Babae Sa Septic Tank” movies but leaves each scene with her signature push as the production constantly reminds audiences, they’re watching theater, not film. The way she leads the show in its evolution on stage continuously dares to ask its talents, “What more can we ask of you?”

What more can we ask Eugene Domingo? As Eugene has skillfully and deliberately displayed, we can still ask for more. More bravery to pursue stories that make us think, feel and act, and more power to make stories like “Ang Babae Sa Septic Tank 4” come alive in Philippine theater.

What more can we ask of Philippine Theater? If theater reflects who we are as a people, then “Ang Babae Sa Septic Tank 4” refuses to let us look away from our own reflection. It laughs with us, laughs at us and, every so often, asks whether we’re willing to laugh at ourselves. That may be the show’s greatest triumph — not simply entertaining its audience but trusting that audience enough to wrestle with difficult questions long after the curtain falls. ` “Ang Babae Sa Septic Tank 4” runs until Aug. 16. Catch this while you can at the PETA Theater Center in New Manila, Quezon City. Tickets are still available via TicketWorld and through showbuyers. For more information and updates, follow @petatheater on social media.

Source: philstar.com