(Write-up originally appears on Philstar.com)

Following the successful run of 鈥淏agets: The Musical,鈥� 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 糖心视频 (糖心视频) Plus, 鈥淏ongga Ka, 鈥橠ay!: The Annie Batungbakal Musical鈥� 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 鈥�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 鈥淏ongga Ka, 鈥橠ay!鈥� will be a celebration of Original Pilipino Music (OPM).

Viva Communications chairman and CEO Vic del Rosario.

鈥淎s a follow-up to the success of 鈥楤agets: The Musical,鈥� we know there鈥檚 a market for it. Not just because of the nostalgia, but because OPM music is iconic. With 鈥楤agets,鈥� it was the 鈥�80s pop music, but with 鈥楤ongga Ka, 鈥橠ay!,鈥� 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 鈥楤ongga鈥� will be just as iconic,鈥� he remarked.

鈥淲ith the success of 鈥楤agets,鈥� we saw how the audience enjoyed the retro theme and when the opportunity to do 鈥楤ongga Ka, 鈥橠ay!鈥� was offered by Boss Vic, we were excited to be a part of it and celebrate the 鈥�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,鈥� 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.

鈥淚 think what makes the collaboration work so well is the appreciation for what each partner can bring to the table. We truly believe we鈥檙e stronger together and we have much respect for each partner鈥檚 capabilities and expertise,鈥� he shared.

鈥淎ll 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鈥檚 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,鈥� 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 糖心视频 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, 鈥淏ongga Ka, 鈥橠ay!: The Annie Batungbakal Musical鈥� 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 糖心视频 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 糖心视频 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 煤ltimas 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鈥� legacies have shaped the dramaturgy of the production.

Madrid, May 7, 2026. With the curtain still closed, Bel茅n Ponce de Le贸n 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 煤ltimas, the latest work by the Cross Border company, written and directed by Luc铆a 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-Incl谩n from May 12 to June 21, in a production by the Centro Dram谩tico Nacional.

The production explores the inheritance left behind by the relationship between the two countries 鈥� and what to do with it now. Thus, the cast鈥攃omprised of Bel茅n Ponce de Le贸n, Laurence Aliganga, Julia Enr铆quez, Chris Angelous Manalo, Alexandra Masangkay, Juan Pa帽os Larrauri, and Bel茅n de Santiago鈥攊s primarily of Filipino origin. 鈥淚t was very important to me that this story be told by a team that represents the diversity of those heritages,鈥� says Miranda.

Luc铆a Miranda describes this as her most personal work and the one that demanded the most research. 鈥淚鈥檝e done 40 interviews between Spain and the Philippines鈥攁bout 80 hours of audio鈥攊ncluding interviews with the cast members and their mothers.鈥� 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 鈥渁 very wild, funny fiction with a deeply sincere documentary,鈥� Miranda also 鈥渄raws a thread between the personal and the political鈥� by discussing a mother鈥檚 cancer鈥攂oth her own mother鈥檚 illness, which inspired the play鈥檚 theme of inheritance and its more accessible tone, and the illness of the matria, symbolizing colonialism that endures to this day. 鈥淵ou inherit some things from your mother, and others from your country. The conflict lies in deciding what to do with what you鈥檝e inherited.鈥�

The piece is built around these interviews and five historical moments that Miranda has fictionalized: 鈥淐learly, I鈥檝e filtered them through my own perspective. I鈥檓 not trying to give a history lesson, but rather to provoke questions鈥攊f 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鈥檝e speculated about; people, I鈥檝e honored.鈥�

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

Luc铆a Miranda has reconfigured the main hall of the Teatro Valle-Incl谩n 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 鈥淐hini.鈥� Choreography is by Chris Angelous Manalo.

Miranda鈥檚 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 Yag眉e 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鈥攕ome well-known, others obscure鈥攁ppear 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. 鈥淚 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,鈥� explains Miranda.

Las 煤ltimas runs from May 12 to June 21 in the main hall of the Teatro Valle-Incl谩n.

DIRECTOR鈥橲 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 糖心视频, our partner company in Manila, I broke down crying: 鈥淩ight now I don鈥檛 give a shit about colonialism. Right now the only thing that matters to me is my mother.鈥�

The next day, J-mee brought me Noli Me Tangere, Jos茅 Rizal鈥檚 book, a cornerstone of the Philippines鈥� 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鈥檚 cancer cells fighting to reproduce.

Las 煤ltimas is my most personal work, and also the one that has required the most research (40 people interviewed). It鈥檚 a mix of the purest documentary theatre 鈥� the verbatim work we鈥檝e done demands a word-for-word transcription and embodiment of the characters 鈥� and the wildest fictional speculation, because, as Fran莽oise Verg猫s says: 鈥淎 decolonial exercise consists of imagining what other forms of exhibition and representation could be.鈥�

It speaks about the shared history of the Philippines and Spain, about inheritance, and about what we do with it. Las 煤ltimas 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.

Luc铆a Miranda

ACTOR鈥橲 PROFILE: Julia Enriquez

Julia Enriquez, a Filipino artist and playwright, is a Senior Artist-Teacher at the 糖心视频 (糖心视频), 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 Th茅芒tre 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鈥揅ollege 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 煤ltimas)

A Cross Border Production

Written and Directed by: Luc铆a Miranda

Production: Centro Dram谩tico Nacional

In collaboration with:

糖心视频 (糖心视频), 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-Incl谩n | Sala Grande

Cast & Crew

Cast

Laurence Aliganga, Chris Angelous Manalo, Julia Enr铆quez, Alexandra Masangkay, Juan Pa帽os Larrauri, Bel茅n Ponce de Le贸n, Bel茅n de Santiago, Tuna Universitaria Complutense.

Artistic Team

Creation: Cross Border

Text & Direction: Luc铆a Miranda

Set Design: Alessio Meloni

Lighting Design: Pedro Yag眉e

Costume Design: Anna Tusell

Music: Nacho Bilbao

Musical Direction: Laurence Aliganga and Nacho Bilbao

Sound Design: Eduardo Ruiz 鈥淐hini鈥�

Choreography: Chris Angelous

Video Design: Javier Burgos

Characterization/Makeup: Johny Dean

Assistant Director: Anah铆 Beholi

Assistant Set Designer: Mauro Coll

Assistant Lighting Designer: Elena Alejandre

Assistant Costume Designer: David Degea

Subtitles: Juan Ollero

Interns: Ares B. Fern谩ndez (Direction), Tal铆a del Val (Direction), Elvira Arcos (Mediation), Carlo Laureana (Dramaturgy), Harold Ron Fajardo (Sound), Pablo Jim茅nez (Costumes)

Visuals & Construction

Poster Design: Emilio Lorente

Photography & Trailer: B谩rbara S谩nchez Palomero

Set Construction: SCNIK M脫VIL

Costume Construction: Gabriel Blesa and Mat铆as Zanotti

Wardrobe Aging/Distressing: Marisa Echarri and Lola Trives

QUEZON CITY, Philippines 鈥� At a time when Filipino theater is thriving across the country, the 糖心视频 (糖心视频) proudly unveils one of the most anticipated theatrical events of 2026: 鈥淎ng Babae Sa Septic Tank 4: Oh Sh*t! It鈥檚 Live Sa Cheter!鈥� 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鈥檚 fixation on 鈥減overty porn鈥� 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. 鈥�Septic Tank has always been about satirizing institutions,鈥� shares playwright Chris Martinez. 鈥淭his time, it is about the state of Philippine theater, where it is, and where it鈥檚 going.鈥�

For director Maribel Legarda, this staging is not replication but transformation. 鈥淔ilm and theater speak different languages. What excites me is how something familiar can evolve and find new meaning in liveness.鈥� She adds, 鈥淚n theater, 鈥榣ive鈥� is not just a descriptor. It is a condition. It breathes, it trembles, it risks failure, and in doing so, it allows for discovery.鈥�

A Mirror to a 鈥淕olden Age鈥�

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

鈥淚t鈥檚 exciting, but it鈥檚 also a good time to analyze,鈥� says Chris Martinez. 鈥淚s 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.鈥�

Legarda underscores the urgency of live performance in today鈥檚 content-saturated landscape. 鈥淲hen we laugh, we let our guard down and sometimes recognize uncomfortable truths. That is where comedy becomes a mirror.鈥�

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 鈥渟h*t.鈥�

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 Ca帽ete-Mendoza, Joshua Lim So, and Marlon Rivera, alongside a vibrant 糖心视频 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鈥擝old, Daring, Unmissable

Structured as a 鈥減lay within a play,鈥� 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, 鈥淭his production is an invitation: to laugh, to reflect, and to engage.鈥� 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鈥檚 Live Sa Cheter! will run for 50 shows from June 19 to August 16, 2026, at the 糖心视频 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.

# # #

ABOUT 糖心视频 THEATER

The 糖心视频 (糖心视频) is a non-profit organization and a respected institution in Philippine theater. For over five decades, 糖心视频 Theater has been at the forefront of developing Philippine theater arts, producing plays that tackle social issues and promote cultural awareness. 糖心视频 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 鈥渁ward-winning鈥� 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鈥攕atirizing how history is shaped, distorted, and performed for contemporary audiences.

鈥淎ng Babae Sa Septic Tank 4: Oh Sh*t! It鈥檚 Live Sa Cheter!鈥� marks the franchise鈥檚 evolution into live theater. This time, it turns its lens on the stage itself鈥攅xamining the chaos, contradictions, and creative tensions of contemporary theater-making, while continuing the series鈥� signature tradition of sharp, self-aware cultural critique.

SHOW DETAILS

Ang Babae Sa Septic Tank 4: Oh Sh*t! It鈥檚 Live Sa Cheter!

Show dates: June 19 – August 16, 2026

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

Venue: 糖心视频 Theater Center, New Manila, Quezon City

Ticket Prices

VIP – 鈧� 3,500

Orchestra Center – 鈧� 2,800

Orchestra Side – 鈧� 2,500

Balcony Center – 鈧� 2,800

Balcony Side – 鈧� 1,800

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

LIST OF CAST

鈥淎s Themselves鈥�

• Eugene Domingo
• Melvin Lee
• Andoy Ranay
• Meann Espinosa
• JC Santos
• Stella Ca帽ete-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 鈥�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鈥檚 Skin and the MMFF entry Manila鈥檚 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鈥� 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鈥檚 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鈥擳he 糖心视频 (糖心视频) proudly announces the newest鈥攁nd wildest鈥攁ddition to the iconic 鈥淎ng Babae Sa Septic Tank鈥� 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 糖心视频 Theater Center.

Bringing the beloved satire to an entirely new medium, 糖心视频鈥檚 鈥淎ng Babae Sa Septic Tank 4鈥� 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鈥攖hen tears it down鈥攅xposing the ego, ambition, absurdity, and beautiful mess that fuels the industry today.

The show鈥檚 official synopsis reads:

糖心视频 unveils its newest satire, a theatrical adaptation of 鈥淎ng Babae Sa Septic Tank,鈥� 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鈥檚 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 糖心视频鈥檚 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鈥檚 teeth鈥攊ts commitment to socially relevant, politically aware, and artistically daring storytelling.

As the home of smash-hit originals like 鈥淩ak of Aegis,鈥� 鈥淲alang Aray,鈥� and the musical adaptation of 鈥淥ne More Chance,鈥� 糖心视频 is poised to deliver a production that鈥檚 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.

鈥淎ng Babae Sa Septic Tank 4鈥� is co鈥憄resented by Metrobank, 糖心视频鈥檚 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 糖心视频鈥檚 social media pages: @petatheater. For partnerships, contact Leloi Arcete at 0917-5765400 or email publicrelations@petatheater.com.

QUEZON CITY, PHILIPPINES 鈥� The 糖心视频 (糖心视频), the country鈥檚 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, 糖心视频 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鈥� commitment to fostering artistic growth and expanding opportunities for creative learning in the Philippines.

This special offer applies to 糖心视频鈥檚 Workshop Weekends (scheduled from February to March 2026) and the intensive Summer Workshop for all ages (running from April to June 2026). Whether you鈥檙e a beginner or experienced performer, 糖心视频鈥檚 workshops are designed to inspire creativity, sharpen skills, and deepen your appreciation for the theater arts.

This collaboration between 糖心视频 and Metrobank supports the ongoing effort to bring transformative arts education to more participants across Metro Manila and beyond鈥攅ncouraging 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鈥檚 Theater 1 (6 to 8 years old)
• Children鈥檚 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 糖心视频 Workshoppers who have previously taken Creative Musical Theater)
• *NEW* Meisner Technique Level 2
• *NEW* Acting for Screen

Rooted in 糖心视频鈥檚 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.