by Laura Kressly

The Spanish arrived in the Philippines in 1521. This was the start of centuries of violent colonial rule that still resonates today. Max Percy, a gay, mixed race Filipino man, carries this legacy in his body. It seems that no matter what he does, from visiting his Filipino grandfather, to flirting and fucking his way through London’s gay clubs, he is fetishised and othered. Percy’s complex solo show samples the racism and homophobia he encounters, shares Filipino creation stories, and uses movement to capture the tension between the different cultures he inhabits.

Percy is an immensely watchable and versatile performer. Arial rope work and short sequences of twisting, wrenched choreography display his physical prowess, but his vulnerability emerges when trying to gain approval from his grandfather. He is sweetly charming as he makes small talk in clubs and bars, but this persona is dropped for one far more hungry when he’s in bed. These episodes are interspersed with contemporary Filipino adverts, some demonstrating a cultural aspiration for whiteness. Though Percy doesn’t comment on these right away, their meaning eventually emerges.

That said, the structure of the piece feels loose. Though the different themes and topics Percy shares all contribute to his unique whole, there are few links from one idea to the next. This results in some of the nuance and symbolism possibly being overlooked. However, the thematic sophistication of the show and Percy’s performance give it polish and confidence.

Baklâ runs through 27 August.

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