by Laura Kressly
The Spanish arrived within the Philippines in 1521. This was the beginning of centuries of violent colonial rule that also resonates at the moment. Max Percy, a homosexual, blended race Filipino man, carries this legacy in his physique. It appears that it doesn’t matter what he does, from visiting his Filipino grandfather, to flirting and fucking his method by means of London’s homosexual golf equipment, he’s fetishised and othered. Percy’s advanced solo present samples the racism and homophobia he encounters, shares Filipino creation tales, and makes use of motion to seize the strain between the totally different cultures he inhabits.
Percy is an immensely watchable and versatile performer. Arial rope work and quick sequences of twisting, wrenched choreography show his bodily prowess, however his vulnerability emerges when making an attempt to achieve approval from his grandfather. He is sweetly charming as he makes small discuss in golf equipment and bars, however this persona is dropped for one much more hungry when he’s in mattress. These episodes are interspersed with modern Filipino adverts, some demonstrating a cultural aspiration for whiteness. Though Percy doesn’t touch upon these instantly, their that means finally emerges.
That mentioned, the construction of the piece feels unfastened. Though the totally different themes and matters Percy shares all contribute to his distinctive complete, there are few hyperlinks from one thought to the subsequent. This ends in a number of the nuance and symbolism presumably being ignored. However, the thematic sophistication of the present and Percy’s efficiency give it polish and confidence.
Baklâ runs by means of 27 August.
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