Entertainment and Lifestyle Philippines - ELPH

14/05/2026

The SET E of VLFXXI: HUBO’T HUBAD is composed of three plays from last year which has won to be revisited this year.
Ade Valenzona’s 𝗣𝗢𝗟𝗔𝗥 𝗖𝗢𝗢𝗥𝗗𝗜𝗡𝗔𝗧𝗘𝗦,
Rolin Cadallo Obina’s 𝗧𝗛𝗘 𝗟𝗔𝗧𝗘 𝗠𝗥. 𝗥𝗘𝗔𝗟,
and Siege Malvar’s 𝗣𝗥𝗘𝗦𝗜𝗗𝗘𝗡𝗧𝗜𝗔𝗟 𝗦𝗨𝗜𝗧𝗘 #2.

The 21st VLF is scheduled to run from 𝕵𝖚𝖓𝖊 3 𝖙𝖔 𝕵𝖚𝖓𝖊 28, 2026, at the Tanghalang Ignacio Gimenez (CCP Black Box Theater).

14/05/2026

The 21st Virgin Lab Fest SET D Official Posters:

𝐓𝐡𝐞 𝐕𝐢𝐫𝐠𝐢𝐧 𝐋𝐚𝐛𝐟𝐞𝐬𝐭 (VLF) officially comes of age in its 21st edition, stripping down all pretense of innocence while showcasing the bold Filipino voice and spirit. As it nurtures emerging and established playwrights, directors, actors, and designers, it revels in the artistic and creative desires expressed through fearless storytelling.

With the theme 𝐻𝓊𝒷𝑜’𝓉 𝐻𝓊𝒷𝒶𝒹, this year’s VLF reflects on the many ways people reveal themselves. It invites audiences to engage with works that expose layers of identity, memory, and vulnerability.

The 21st VLF is scheduled to run from 𝕵𝖚𝖓𝖊 3 𝖙𝖔 𝕵𝖚𝖓𝖊 28, 2026, at the Tanghalang Ignacio Gimenez (CCP Black Box Theater).

14/05/2026

VLFXXI SET C Official Posters:

𝐓𝐡𝐞 𝐕𝐢𝐫𝐠𝐢𝐧 𝐋𝐚𝐛𝐟𝐞𝐬𝐭 (VLF) officially comes of age in its 21st edition, stripping down all pretense of innocence while showcasing the bold Filipino voice and spirit. As it nurtures emerging and established playwrights, directors, actors, and designers, it revels in the artistic and creative desires expressed through fearless storytelling.
With the theme 𝐻𝓊𝒷𝑜’𝓉 𝐻𝓊𝒷𝒶𝒹, this year’s VLF reflects on the many ways people reveal themselves. It invites audiences to engage with works that expose layers of identity, memory, and vulnerability.

The 21st VLF is scheduled to run from 𝕵𝖚𝖓𝖊 3 𝖙𝖔 𝕵𝖚𝖓𝖊 28, 2026, at the Tanghalang Ignacio Gimenez (CCP Black Box Theater).

14/05/2026

Official Posters of VLFXXI SET B:

𝐓𝐡𝐞 𝐕𝐢𝐫𝐠𝐢𝐧 𝐋𝐚𝐛𝐟𝐞𝐬𝐭 (VLF) officially comes of age in its 21st edition, stripping down all pretense of innocence while showcasing the bold Filipino voice and spirit. As it nurtures emerging and established playwrights, directors, actors, and designers, it revels in the artistic and creative desires expressed through fearless storytelling.
With the theme 𝐻𝓊𝒷𝑜’𝓉 𝐻𝓊𝒷𝒶𝒹, this year’s VLF reflects on the many ways people reveal themselves. It invites audiences to engage with works that expose layers of identity, memory, and vulnerability.

The 21st VLF is scheduled to run from 𝕵𝖚𝖓𝖊 3 𝖙𝖔 𝕵𝖚𝖓𝖊 28, 2026, at the Tanghalang Ignacio Gimenez (CCP Black Box Theater).

14/05/2026

𝐓𝐡𝐞 𝐕𝐢𝐫𝐠𝐢𝐧 𝐋𝐚𝐛𝐟𝐞𝐬𝐭 (VLF) officially comes of age in its 21st edition, stripping down all pretense of innocence while showcasing the bold Filipino voice and spirit. As it nurtures emerging and established playwrights, directors, actors, and designers, it revels in the artistic and creative desires expressed through fearless storytelling.

With the theme 𝐻𝓊𝒷𝑜’𝓉 𝐻𝓊𝒷𝒶𝒹, this year’s VLF reflects on the many ways people reveal themselves. It invites audiences to engage with works that expose layers of identity, memory, and vulnerability.

The 21st VLF is scheduled to run from 𝕵𝖚𝖓𝖊 3 𝖙𝖔 𝕵𝖚𝖓𝖊 28, 2026, at the Tanghalang Ignacio Gimenez (CCP Black Box Theater).

Here are the Official Posters of SET A:

14/05/2026

𝗣𝗘𝗧𝗔 𝗕𝗿𝗶𝗻𝗴𝘀 𝗮 𝗖𝘂𝗹𝘁𝘂𝗿𝗮𝗹 𝗣𝗵𝗲𝗻𝗼𝗺𝗲𝗻𝗼𝗻 𝘁𝗼 𝘁𝗵𝗲 𝗦𝘁𝗮𝗴𝗲 𝘄𝗶𝘁𝗵
𝘼𝙣𝙜 𝘽𝙖𝙗𝙖𝙚 𝙎𝙖 𝙎𝙚𝙥𝙩𝙞𝙘 𝙏𝙖𝙣𝙠 4: 𝙊𝙝 𝙎𝙝*𝙩! 𝙄𝙩’𝙨 𝙇𝙞𝙫𝙚 𝙎𝙖 𝘾𝙝𝙚𝙩𝙚𝙧!

QUEZON CITY, Philippines — At a time when Filipino theater is thriving across the country, the Philippine Educational Theater Association (PETA) 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 p**n” 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 PETA 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.

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 p**n 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.

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 PETA 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 on social media.

* PRESSCON, Photographs by Erickson Dela Cruz (c) 2026

23/02/2026

𝐎𝐅𝐖 𝐑𝐞𝐚𝐥𝐢𝐭𝐢𝐞𝐬 𝐌𝐢𝐫𝐫𝐨𝐫𝐞𝐝 𝐓𝐡𝐫𝐨𝐮𝐠𝐡 𝐓𝐡𝐞𝐚𝐭𝐫𝐞 𝐢𝐧 𝐃𝐮𝐥𝐚𝐚𝐧𝐠 𝐔𝐏’𝐬 𝐀𝐧𝐠 𝐊𝐚𝐥𝐢𝐢𝐭𝐚𝐧 𝐧𝐠 𝐊𝐚𝐬𝐚𝐥𝐮𝐤𝐮𝐲𝐚𝐧

For many different reasons, 𝙾𝚟𝚎𝚛𝚜𝚎𝚊𝚜 𝙵𝚒𝚕𝚒𝚙𝚒𝚗𝚘 𝚆𝚘𝚛𝚔𝚎𝚛𝚜 (OFWs) courageously make a living abroad for years and oceans away from their loved ones. Most venture far in high hopes of greener pastures for their families. They confront homesickness, loneliness, culture shock, language barriers and (frustratingly) even racism in their everyday lives. Our migrant workers endure this altogether as they are driven by the struggle of life in the homeland.

Deemed as the country’s “modern day heroes”, their remittances play an integral role in the economy. There is then a strong sense of dependence by the government on the taxes collected from our “heroes”. Sensibly, one might expect that currencies entering the country would elevate the collective Filipino way of life, but that is not the case even after decades of waging OFWs.

Their presence (or absence) has been normalized. It has become routine to see them out to the airport and greet them with Duty Free goods — often every Christmas or New Year’s season. Before leaving the country, they treasure moments at home as best as they can through feasting, meaningful conversations, and nostalgia walks. As they prepare to leave again, they take memorabilia and a new set of memories to sustain them in their workplace.

The solution to this cyclic and systemic problem is often grazed upon. Although media representations of their narratives are well-documented and shared through films, news broadcasts, social media sites, and television series, the conversation is lacking in the space of theatre.

Dulaang Unibersidad ng Pilipinas (DUP) aims to offer treatises in filling this void. Their production in the works, ᴬⁿᵍ ᴷᵃˡⁱⁱᵗᵃⁿ ⁿᵍ ᴷᵃˢᵃˡᵘᵏᵘʸᵃⁿ, was written and directed by Don Carlos Palanca Memorial Awards for Literature multi-awarded playwright and DUP Artistic Director, Arlo Deguzman. A returning alumni, not only does he head home and pay his services forward to his alma mater, but also picks up where he left in the country having been a migrant worker himself for almost two decades across fifty countries.

Written from a place of diasporic experience, the piece is a powerful and contemporary work that tackles the emotional landscape of and an ode to our OFWs. These stories, embodied in movement and lyric, aim to negotiate the melancholically veiled struggles of a migrant worker: a father’s frustration from unending remittances, a mother seeking to make the sacrifice worthwhile, a sister negotiating the promise of separation, and a son bearing the silence of a deafening burden. DUP invites us to contemplate on our origins and bids for connection and home.

Perhaps this allows you to ponder on life in the Philippines or abroad and would lead you to questions or answers sought after. You might even find comfort in knowing some of the cast and crew had been an OFW, had thought (or is thinking) of being one, or longs for a loved one abroad. Whether you are an OFW or not, a story relative to yours will be told live through theatre that will certainly evoke in you a sense of yearning.

With the increasing tensions around the globe, the safety of our OFWs is then at risk — it is Dulaang UP’s hope that fellow countrymen be home safe, live and labor in their homeland with dignity and justice. Ultimately, for that time where all Filipinos are happy at home, without needing to leave, could come.

𝔸𝕟𝕘 𝕂𝕒𝕝𝕚𝕚𝕥𝕒𝕟 𝕟𝕘 𝕂𝕒𝕤𝕒𝕝𝕦𝕜𝕦𝕪𝕒𝕟 will run from March 12, 2026 to March 29, 2026 at the IBG-KAL Theater, UP Diliman; Thursdays and Fridays at 7:30PM, and Saturdays and Sundays at 2:30PM and 7:30PM. Tickets are available via https://bit.ly/AngKaliitanNgKasalukuyan2026 with the following prices:

1,000 Php Regular Price (800 Early Bird discount until January 31)
800 Php PWD / Senior Citizens / Non-UP Students
650 UP Community (Students and Employees): Friday–Sunday shows
550 UP Community (Students and Employees): Thursday shows

Please note that discounts/promos are not stackable on each other.

Facebook: facebook.com/DulaangUnibersidadNgPilipinas/
Instagram: instagram.com/dulaang_up/
TikTok: tiktok.com/

Dulaang Unibersidad ng Pilipinas (with contributions by Lora Kate Batomalaque)

23/02/2026

"Choreographers Gerardo Francisco, Ballet Manila’s associate artistic director, and choreographer-in-residence Martin Lawrance bring new energy to the stage, interpreting eight of the band’s greatest hits. The result is refreshing: a ballet infused with the pulse of drums, electric guitar, and the raw spirit of rock."

Read more: https://theaterfansmanila.com/review-in-the-dawn-of.../

"Choreographers Gerardo Francisco, Ballet Manila’s associate artistic director, and choreographer-in-residence Martin Lawrance bring new energy to the stage, interpreting eight of the band’s greatest hits. The result is refreshing: a ballet infused with the pulse of drums, electric guitar, and the raw spirit of rock."

Read more: https://theaterfansmanila.com/review-in-the-dawn-of-ballet-ballet-manila-dances-to-the-beat-of-the-dawn/

08/02/2026

Arts Month + Heart Day = bagay.

Save the date for the heART Edition of QCinema at the Park, a QC Film City celebration under the stars.

📅 February 14, 2026 | 5:00 PM
📍 Quezon Memorial Circle
🎟️ Free Screening