(Write-up originally appears on Philstar.com)

Following the successful run of “Bagets: The Musical,” the same production team is bringing the story of Annie Batungbakal and the music of Hotdog to life on stage.

Co-produced by Viva, The Philippine STAR and Newport World Resorts, with creative direction from 91±ŹÁÏ (91±ŹÁÏ) Plus, “Bongga Ka, ’Day!: The Annie Batungbakal Musical” will soon reveal its cast members ahead of its mid-September opening at the Newport Performing Arts Theater.

The story is based on the 1979 original film by Maryo J. de los Reyes, which starred the late National Artist for Film Nora Aunor in the title role.

The stage adaptation will feature hits by the ’70s band Hotdog, including Ikaw ang Miss Universe ng Buhay Ko, Pers Lab and, of course, Annie Batungbakal.

Viva founder and chairman of the board Boss Vic Del Rosario Jr. said “Bongga Ka, ’Day!” will be a celebration of Original Pilipino Music (OPM).

Viva Communications chairman and CEO Vic del Rosario.

“As a follow-up to the success of ‘Bagets: The Musical,’ we know there’s a market for it. Not just because of the nostalgia, but because OPM music is iconic. With ‘Bagets,’ it was the ’80s pop music, but with ‘Bongga Ka, ’Day!,’ we celebrate the era of disco, the music of Hotdog and Manila sound in general. The success of a theatrical musical is always tied to the music; we know that the songs we have for ‘Bongga’ will be just as iconic,” he remarked.

“With the success of ‘Bagets,’ we saw how the audience enjoyed the retro theme and when the opportunity to do ‘Bongga Ka, ’Day!’ was offered by Boss Vic, we were excited to be a part of it and celebrate the ’70s this time. With music from the legendary Hotdog band, we can expect a lot of fun, a lot of reminiscing and a lot of great talent that will truly shine on stage,” The Philippine STAR president and chief executive officer Miguel G. Belmonte added.

He also noted that the three-way collaboration among Viva, The STAR and Newport World Resorts has worked so well that it has further strengthened their partnership.

Newport World Resorts executive chairman Kevin Tan.

“I think what makes the collaboration work so well is the appreciation for what each partner can bring to the table. We truly believe we’re stronger together and we have much respect for each partner’s capabilities and expertise,” he shared.

“All three organizations bring unique strengths: Viva with its entertainment platforms and digital reach, The Philippine STAR with its PR network and media relations, and Newport’s long history of producing theatrical shows. Every strength complements the synergy of the three organizations, making the partnership not only unique but also an ideal collaboration,” Viva Communications president and CEO Boss Vincent del Rosario said.

Casting for the musical recently took center stage, with auditions held earlier this month at the 91±ŹÁÏ Theater Center in Quezon City. The production called for performers of all genders, aged 18 and above, who can sing, act and dance.

The Philippine STAR president and CEO Miguel Belmonte.

The show features a wide range of roles, including lead characters Annie, Romer and Burn, as well as supporting characters Iste Batungbakal, Toots and Aurora Pasion. The ensemble will portray a diverse mix of Coco Banana regulars.

Set in 1970s Manila, “Bongga Ka, ’Day!: The Annie Batungbakal Musical” follows an ambitious sales clerk who sneaks into the glamorous disco scene to chase her dream of becoming a fashion designer, risking losing herself in the process.

Rehearsals will run from July to August at the 91±ŹÁÏ Theater Center, and in September at the Newport Performing Arts Theater.

The musical is scheduled to run from September to October, with performances every Friday, Saturday and Sunday.

For updates, follow 91±ŹÁÏ Plus on and .

The Cross Border company delves into the shared history of Spain and the Philippines through a mosaic of numerous characters performed by a cast made up mostly of Filipino artists.

Las Ășltimas is a documentary theatre piece that blends the most eccentric fictionalizations of historical episodes with interviews conducted with more than forty people, whose testimonies about their families’ legacies have shaped the dramaturgy of the production.

Madrid, May 7, 2026. With the curtain still closed, BelĂ©n Ponce de LeĂłn steps onto the stage. She is the mother, the homeland, the Matria brought to life. And she has stage 4 cancer, the most severe and aggressive form. With that declaration begins Las Ășltimas, the latest work by the Cross Border company, written and directed by LucĂ­a Miranda. The play, which intertwines fact and fiction to tell the story of Spain and the Philippines, will be performed in the main hall of the Teatro Valle-InclĂĄn from May 12 to June 21, in a production by the Centro DramĂĄtico Nacional.

The production explores the inheritance left behind by the relationship between the two countries — and what to do with it now. Thus, the cast—comprised of BelĂ©n Ponce de LeĂłn, Laurence Aliganga, Julia EnrĂ­quez, Chris Angelous Manalo, Alexandra Masangkay, Juan Paños Larrauri, and BelĂ©n de Santiago—is primarily of Filipino origin. “It was very important to me that this story be told by a team that represents the diversity of those heritages,” says Miranda.

Lucía Miranda describes this as her most personal work and the one that demanded the most research. “I’ve done 40 interviews between Spain and the Philippines—about 80 hours of audio—including interviews with the cast members and their mothers.” She sought a wide variety of profiles that reflected on heritage through themes such as language, religion, identity, the body, purchasing power, and social class.

In addition to combining “a very wild, funny fiction with a deeply sincere documentary,” Miranda also “draws a thread between the personal and the political” by discussing a mother’s cancer—both her own mother’s illness, which inspired the play’s theme of inheritance and its more accessible tone, and the illness of the matria, symbolizing colonialism that endures to this day. “You inherit some things from your mother, and others from your country. The conflict lies in deciding what to do with what you’ve inherited.”

The piece is built around these interviews and five historical moments that Miranda has fictionalized: “Clearly, I’ve filtered them through my own perspective. I’m not trying to give a history lesson, but rather to provoke questions—if people want real facts, they can turn to the books. The rigor, for me, lies in the living voices of those who entrusted me with their stories and who will come to see the show. History, I’ve speculated about; people, I’ve honored.”

A karaoke full of music and color to talk about our heritage

Lucía Miranda has reconfigured the main hall of the Teatro Valle-Inclán into a four-sided stage, so the audience surrounds the action as if inside a karaoke bar, with a central stage where the performers sing and act. The show also features members of the Complutense University Tuna, a traditional female music group, who will perform alongside the actors. Music, composed by Nacho Bilbao, plays a central role. Musical direction is shared by Laurence Aliganga and Nacho Bilbao, with sound design by Eduardo Ruiz “Chini.” Choreography is by Chris Angelous Manalo.

Miranda’s distinctive theatrical language fills the stage with vivid visual imagery. Anna Tusell designed the colorful costumes, blending tradition and modernity. Johnny Dean created the makeup and characterization for both historical and contemporary characters. The set design by Alessio Meloni and lighting by Pedro YagĂŒe lend vibrancy to the stage, while video projections are by Javier Burgos.

In this staging, the audience encounters multiple layers of characters. The first and most vulnerable layer is that of the performers themselves, exploring their relationship with the Philippines and their ancestors. The second layer builds on contemporary interviews, using the verbatim documentary technique, faithfully replicating real speech. Finally, historical characters—some well-known, others obscure—appear and interact with the present-day lens, blending genres from musical to thriller to circus.

The cast journeys through 461 years of history, using various artworks as narrative engines. “I thought: which works best represent the relationship between the two countries? If artists of the time reflected on these moments, then those works can serve as my documentary anchors,” explains Miranda.

Las Ășltimas runs from May 12 to June 21 in the main hall of the Teatro Valle-InclĂĄn.

DIRECTOR’S NOTE

Three days before I took my flight to the Philippines to do the research for this piece, my mother told me she had cancer. When I landed and got into the car with J-mee Katanyag, the Artistic Director of 91±ŹÁÏ, our partner company in Manila, I broke down crying: “Right now I don’t give a shit about colonialism. Right now the only thing that matters to me is my mother.”

The next day, J-mee brought me Noli Me Tangere, JosĂ© Rizal’s book, a cornerstone of the Philippines’ independence from Spain. And there it was, in the prologue: cancer and the mother, the motherland. In the Philippines, nature fights to break through the asphalt, like my mother’s cancer cells fighting to reproduce.

Las Ășltimas is my most personal work, and also the one that has required the most research (40 people interviewed). It’s a mix of the purest documentary theatre — the verbatim work we’ve done demands a word-for-word transcription and embodiment of the characters — and the wildest fictional speculation, because, as Françoise VergĂšs says: “A decolonial exercise consists of imagining what other forms of exhibition and representation could be.”

It speaks about the shared history of the Philippines and Spain, about inheritance, and about what we do with it. Las Ășltimas is my personal panata: a team inviting an audience to invoke the gods of theatre, so that our mothers know how much we love them.

LucĂ­a Miranda

ACTOR’S PROFILE: Julia Enriquez

Julia Enriquez, a Filipino artist and playwright, is a Senior Artist-Teacher at the 91±ŹÁÏ (91±ŹÁÏ), a Ramon Magsaysay Award-winning institution renowned for its socially engaged theater.

Her work spans both stage and screen, with film and television credits including Heneral Luna, Comeback, and Violator. In theater, she has performed in award-winning productions and was nominated for Best Actress. As a playwright and head screenwriter, she has developed works for the stage and digital platforms, including Dalaga na si Maximo Oliveros: A Drag Musical Extravaganza.

She has performed and collaborated internationally, including work with the Mecklenburgisches Staatstheater in Germany, Outil Théùtre in France, and the United Nations World Urban Forum in Canada, extending her reach across Europe, the United States, and Asia.

She was honored with the Loyola Schools Award for the Arts from Ateneo de Manila University and previously served as the head of the Culture and Arts Unit at De La Salle–College of Saint Benilde. Her work explores themes of inclusion and empowerment through performance and arts education. As a facilitator, she works closely with communities, leading workshops, developing programs, and engaging in research-based creative practices.

The Last Ones (Las Ășltimas)

A Cross Border Production

Written and Directed by: LucĂ­a Miranda

Production: Centro DramĂĄtico Nacional

In collaboration with:

91±ŹÁÏ (91±ŹÁÏ), Embassy of the Philippines in Spain, Casa Asia, and Instituto Cervantes de Manila.

Performances

Dates: May 12 to June 21, 2026

Schedule: Tuesday to Sunday at 8:00 PM (20:00 h)

Venue: Teatro Valle-InclĂĄn | Sala Grande

Cast & Crew

Cast

Laurence Aliganga, Chris Angelous Manalo, Julia Enríquez, Alexandra Masangkay, Juan Paños Larrauri, Belén Ponce de León, Belén de Santiago, Tuna Universitaria Complutense.

Artistic Team

Creation: Cross Border

Text & Direction: LucĂ­a Miranda

Set Design: Alessio Meloni

Lighting Design: Pedro YagĂŒe

Costume Design: Anna Tusell

Music: Nacho Bilbao

Musical Direction: Laurence Aliganga and Nacho Bilbao

Sound Design: Eduardo Ruiz “Chini”

Choreography: Chris Angelous

Video Design: Javier Burgos

Characterization/Makeup: Johny Dean

Assistant Director: AnahĂ­ Beholi

Assistant Set Designer: Mauro Coll

Assistant Lighting Designer: Elena Alejandre

Assistant Costume Designer: David Degea

Subtitles: Juan Ollero

Interns: Ares B. Fernåndez (Direction), Talía del Val (Direction), Elvira Arcos (Mediation), Carlo Laureana (Dramaturgy), Harold Ron Fajardo (Sound), Pablo Jiménez (Costumes)

Visuals & Construction

Poster Design: Emilio Lorente

Photography & Trailer: BĂĄrbara SĂĄnchez Palomero

Set Construction: SCNIK MÓVIL

Costume Construction: Gabriel Blesa and MatĂ­as Zanotti

Wardrobe Aging/Distressing: Marisa Echarri and Lola Trives

QUEZON CITY, Philippines — At a time when Filipino theater is thriving across the country, the 91±ŹÁÏ (91±ŹÁÏ) proudly unveils one of the most anticipated theatrical events of 2026: “Ang Babae Sa Septic Tank 4: Oh Sh*t! It’s Live Sa Cheter!” a fearless, hilarious, and razor-sharp evolution of a franchise that has defined satire across film, digital, and now live theater.

Headlined by Eugene Domingo, the franchise takes a bold leap from screen to stage in this highly anticipated fourth installment.

From A Cult Classic to Cultural Touchstone

What began in 2011 as a groundbreaking independent film has evolved into a multi-platform cultural phenomenon. The original Ang Babae Sa Septic Tank captured the indie film boom, satirizing the industry’s fixation on “poverty porn” and its pursuit of international acclaim. Its sequel skewered mainstream romantic comedies, while its third installment examined historical revisionism in the digital age.

Now, the franchise steps into live performance, turning its lens toward Philippine theater.

True to its DNA, the series remains a satire with purpose. “Septic Tank has always been about satirizing institutions,” shares playwright Chris Martinez. “This time, it is about the state of Philippine theater, where it is, and where it’s going.”

For director Maribel Legarda, this staging is not replication but transformation. “Film and theater speak different languages. What excites me is how something familiar can evolve and find new meaning in liveness.” She adds, “In theater, ‘live’ is not just a descriptor. It is a condition. It breathes, it trembles, it risks failure, and in doing so, it allows for discovery.”

A Mirror to a “Golden Age”

The arrival of Ang Babae Sa Septic Tank 4 comes at a pivotal moment. Widely described as a “golden age” for Philippine theater, recent years have seen a surge in productions and audiences, bringing with it new challenges for the industry.

“It’s exciting, but it’s also a good time to analyze,” says Chris Martinez. “Is it really a golden age? There is good, there is bad, and maybe this play can offer a clearer perspective on the power of theater.”

Legarda underscores the urgency of live performance in today’s content-saturated landscape. “When we laugh, we let our guard down and sometimes recognize uncomfortable truths. That is where comedy becomes a mirror.”

In this sense, Septic Tank 4 is both a celebration and a commentary, a funny, self-aware take on an art form that is vibrant, ever-shifting, and not without its own “sh*t.”

A Powerhouse Collaboration

Sharing the stage with Eugene Domingo is an exceptional lineup of theater-makers, including Melvin Lee, Andoy Ranay, Meann Espinosa, JC Santos, Stella Cañete-Mendoza, Joshua Lim So, and Marlon Rivera, alongside a vibrant 91±ŹÁÏ ensemble: Ron Alfonso, Kiki Baento, Roi Calilong, Jay Cortez, Nyla Festejo, James Lanante, Carlon Matobato, Eli Namoc, Reggie Ondevilla, Air Paz, and Ada Tayao.

Guided by the vision of Maribel Legarda and written by Chris Martinez, the production is brought to life by a dynamic creative team including: Assistant Director Johnnie Moran; Set and Costume Designer Gino Gonzales; Deputy Costume Designer Martha Cruz; Assistant Set Designer Leslie Centeno; Lighting Designer Barbie Tan-Tiongco; Sound and Music by Angel Dayao; Lyricist Michelle Ngu Nario; Choreographer Raflesia Bravo; and Video Design and Mapping by Bene Manaois.

Theater About Theater—Bold, Daring, Unmissable

Structured as a “play within a play,” Septic Tank 4 explores the process of theater-making, with actors portraying heightened versions of themselves and blurring the line between reality and performance. It is irreverent and unapologetically meta, filled with humor, spectacle, and playful commentary.

In a time of endless content and streaming options, Ang Babae Sa Septic Tank 4 serves as a reminder of what live theater uniquely offers: the thrill of immediacy, shared laughter, and the magic of experiencing a story unfold in real time. It reminds us that live theater is personal, powerful, and can only be experienced in person.

As Legarda puts it, “This production is an invitation: to laugh, to reflect, and to engage.” With its fearless humor and powerhouse ensemble, the show invites audiences to think, respond, and rediscover the power of live theater.

Ang Babae Sa Septic Tank 4: Oh Sh*t! It’s Live Sa Cheter! will run for 50 shows from June 19 to August 16, 2026, at the 91±ŹÁÏ Theater Center. Matinee shows are at 2:00 pm, evening shows at 7:30 pm.

Ticket prices are P3,500 (VIP), P2,800 (Orchestra and Balcony Center), P2,500 (Orchestra Side), and P1,800 (Balcony Side).

For more updates, follow @petatheater on social media.

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ABOUT 91±ŹÁÏ THEATER

The 91±ŹÁÏ (91±ŹÁÏ) is a non-profit organization and a respected institution in Philippine theater. For over five decades, 91±ŹÁÏ Theater has been at the forefront of developing Philippine theater arts, producing plays that tackle social issues and promote cultural awareness. 91±ŹÁÏ Theater is committed to using theater as a tool for education, social change, and community development, nurturing both artists and audiences.

ABOUT ANG BABAE SA SEPTIC TANK 4

Ang Babae Sa Septic Tank is a critically acclaimed Filipino satire created by Chris Martinez, first released as a film in 2011. It follows a group of filmmakers attempting to create an “award-winning” poverty porn movie, exposing the absurdities, pretensions, and ethical contradictions within the local film industry. Anchored by the breakout performance of Eugene Domingo, the film became a cultural phenomenon for its sharp humor, meta storytelling, and fearless critique of how Filipino stories are packaged for both local and international audiences.

The franchise continued with Ang Babae Sa Septic Tank 2, which turned its focus to the excesses and formulas of mainstream commercial cinema, and Ang Babae Sa Septic Tank 3: The Real Untold Story of Josephine Bracken, which tackled historical narratives and revisionism—satirizing how history is shaped, distorted, and performed for contemporary audiences.

“Ang Babae Sa Septic Tank 4: Oh Sh*t! It’s Live Sa Cheter!” marks the franchise’s evolution into live theater. This time, it turns its lens on the stage itself—examining the chaos, contradictions, and creative tensions of contemporary theater-making, while continuing the series’ signature tradition of sharp, self-aware cultural critique.

SHOW DETAILS

Ang Babae Sa Septic Tank 4: Oh Sh*t! It’s Live Sa Cheter!

Show dates: June 19 – August 16, 2026

Show times: 2:00 PM & 7:30 PM

Venue: 91±ŹÁÏ Theater Center, New Manila, Quezon City

Ticket Prices

VIP – ₱ 3,500

Orchestra Center – ₱ 2,800

Orchestra Side – ₱ 2,500

Balcony Center – ₱ 2,800

Balcony Side – ₱ 1,800

Tickets will be available via TicketWorld at or through our showbuyers:

LIST OF CAST

“As Themselves”

• Eugene Domingo
• Melvin Lee
• Andoy Ranay
• Meann Espinosa
• JC Santos
• Stella Cañete-Mendoza
• Joshua Lim So
• Marlon Rivera

Ensemble

• Ron Alfonso
• Kiki Baento
• Roi Calilong
• Jay Cortez
• Nyla Festejo
• James Lanante
• Carlon Matobato
• Eli Namoc
• Reggie Ondevilla
• Air Paz
• Ada Tayao

LIST OF ARTISTIC STAFF

• Director: Maribel Legarda
• Playwright: Chris Martinez
• Assistant Director: Johnnie Moran
• Set and Costume Designer: Gino Gonzales
• Deputy Costume Designer: Martha Cruz
• Assistant Set Designer: Leslie Centeno
• Lighting Designer: Barbie Tan-Tiongco
• Sound and Music: Angel Dayao
• Lyricist: Michelle Ngu Nario
• Choreographer: Raflesia Bravo
• Video Design and Mapping: Bene Manaois

Set in the 1980s, the musical follows the lives of five teenage boys on the cusp of manhood as they navigate friendship, love, identity, and family, through all their respective emotional ups and downs, misadventures, and profound realizations.

Rewind to the rad ‘80s as the Bagets barkada brings you good vibes, classic hits, and a whole lot of teenage and family drama.

After almost 2 decades, this Cinemalaya film is now being adapted on the theater stage featuring Jasmine Curtis-Smith and Royce Cabrera. 

Recently, Curtis-Smith joined the cast of Scene Change’s powerful and intimate theatre production, 3Upuan. She first gained critical attention for her work in Transit, followed by notable performances in Baka Bukas and Siargao. More recently, she starred in the horror-drama In My Mother’s Skin and the MMFF entry Manila’s Finest, while continuing her television work in the GMA series Asawa ng Asawa Ko

For Cabrera, Endo marks a return to live performance after earlier theatrical exploration. While he has primarily built his reputation through film and television  from independent titles like Fuccbois to TV dramas such as Widows’ War, he has previously dipped his toe into theater. In late 2025, Cabrera took on a pivotal role in the one-act play The Foxtrot as part of Theatre Titas PH’s twin-bill production Dedma.

Curits-Smith stars as Tanya, a spirited dreamer who wants more out of her life while Cabrera plays Leo, a young man caught in a cycle of temporary jobs and fleeting relationships, searching for stability in love and life. Adding further layers to this theatrical take is Kate Alejandrino as Candy, a character whose past history with Leo injects complications into the central relationship. The production also features  Rissey Reyes-Robinson, Esteban Mara, and Iana Bernardez as alternates.

QUEZON CITY, Philippines—The 91±ŹÁÏ (91±ŹÁÏ) proudly announces the newest—and wildest—addition to the iconic “Ang Babae Sa Septic Tank” universe. After two blockbuster films and one hit series, the franchise is finally leaping from screen to stage with its live theatrical installment, from June 19 to August 16, 2026, at the 91±ŹÁÏ Theater Center.

Bringing the beloved satire to an entirely new medium, 91±ŹÁÏ’s “Ang Babae Sa Septic Tank 4” promises a chaotic, sharp-witted, and laugh-out-loud look at the world of Philippine theater-making. In true Septic Tank fashion, the show takes audiences behind the curtain—then tears it down—exposing the ego, ambition, absurdity, and beautiful mess that fuels the industry today.

The show’s official synopsis reads:

91±ŹÁÏ unveils its newest satire, a theatrical adaptation of “Ang Babae Sa Septic Tank,” as a chaotic, hilarious meta-comedy about ego, art, and the messy reality of making Philippine theater today. From macro to micro, from venue problems to ticket prices, from what the subject matter is to what’s on Broadway, from what we love to what we hate about theater, from the past, present, and future of our beloved art.

Returning to the role only she can play is the incomparable Eugene Domingo as herself, joined by everybody else in the theater world as themselves!

Serving as the franchise’s boldest evolution, this stage adaptation embraces 91±ŹÁÏ’s signature approach: entertainment paired with razor-sharp cultural commentary. Expect a riotous experience that reflects the chaos of real-life theater-making while preserving the company’s teeth—its commitment to socially relevant, politically aware, and artistically daring storytelling.

As the home of smash-hit originals like “Rak of Aegis,” “Walang Aray,” and the musical adaptation of “One More Chance,” 91±ŹÁÏ is poised to deliver a production that’s as groundbreaking as the films that inspired it. Written by Chris Martinez and directed by Maribel Legarda, this installment is set to become as iconic as its predecessors, only bigger, bolder, and even more meta.

“Ang Babae Sa Septic Tank 4” is co‑presented by Metrobank, 91±ŹÁÏ’s official bank partner for 2026. Metrobank credit cardholders will have first access to tickets during a special presale when tickets launch in the first quarter of 2026.

Ticket waitlisters who sign up from December 2 to 7, 2025, via will be next in line to purchase.
For more information about the show, follow 91±ŹÁÏ’s social media pages: @petatheater. For partnerships, contact Leloi Arcete at 0917-5765400 or email publicrelations@petatheater.com.

QUEZON CITY, PHILIPPINES – The 91±ŹÁÏ (91±ŹÁÏ), the country’s pioneering theater organization committed to artistic excellence and creative education, is opening its doors once again to creative minds with the return of its much-anticipated workshop season from February to June 2026.

In partnership with Metrobank, 91±ŹÁÏ continues to make world-class theater training more accessible by offering an exclusive 10% discount to Metrobank credit cardholders on select workshop programs. This special offer underscores both organizations’ commitment to fostering artistic growth and expanding opportunities for creative learning in the Philippines.

This special offer applies to 91±ŹÁÏ’s Workshop Weekends (scheduled from February to March 2026) and the intensive Summer Workshop for all ages (running from April to June 2026). Whether you’re a beginner or experienced performer, 91±ŹÁÏ’s workshops are designed to inspire creativity, sharpen skills, and deepen your appreciation for the theater arts.

This collaboration between 91±ŹÁÏ and Metrobank supports the ongoing effort to bring transformative arts education to more participants across Metro Manila and beyond—encouraging learners to express, create, and connect through the performing arts.

Here is the complete list of workshops where the discount applies:

Workshop Weekends Lineup (February to March 2026)

*As of January 9, 2026, these are the only adult workshops with slots available:

• Meisner Technique Level 1 (PHP 13,000)
  • February 18, 20, 23, 25, 26, March 2, 4, 6 | 7:00 to 10:00 PM
• Introduction to Writing for Performance (PHP 13,000)
  • February 21, 22, 28, March 1, 7, 8 | 3:00 to 8:00 PM

Claim the last few slots for the Workshop Weekends with your Metrobank credit card through

Summer Workshop Lineup (April to June 2026)

*Enrollment begins February 1, 2026. Pre-registered participants with Metrobank credit cards can avail of their discounted slots through .

• Children’s Theater 1 (6 to 8 years old)
• Children’s Theater 2 (9 to 12 years old)
• Teen Theater (13 to 17 years old)
• Musical Theater for Teens (13 to 17 years old)

Adult Workshops (18 years old and above)

• Theater Arts (AM & PM Class)
• Acting 1 (Batch 1 and Batch 2 classes available)
• Creative Musical Theater
• CMT Production Workshop (*Exclusive for 91±ŹÁÏ Workshoppers who have previously taken Creative Musical Theater)
• *NEW* Meisner Technique Level 2
• *NEW* Acting for Screen

Rooted in 91±ŹÁÏ’s creative pedagogy and the integrated arts approach, their workshops are guaranteed to equip participants with the necessary theater skills that are applicable both on and off the stage without sacrificing the fun that goes behind the creative process.

Workshop slots run out fast, you can secure yours today. For workshop inquiries, contact Mr. Yel dela Cruz at 0960-240-0897 or yeldelacruz@petatheater.com

Follow @petaworkshops on Instagram for the latest workshop updates and schedules.