Baklâ: noun, Tagalog. 1) homosexual; 2) unable to reproduce; 3) F*ggot.
Homonhon Island, 1521. The start of 300 years of Spanish colonial rule, sparked a genocide across the islands now known as the Philippines. The loss of my ancestral homeland sends ripples through time, emitting cultural amnesia. But is sex the best cure for a headache?
Dishonesty, toxic coping mechanisms and the trials of self-liberation. Are you looking for a wild and sexy time? A daring one-person physical-theatre show about how intergenerational trauma takes shape in the modern Filipino.
Would you mind giving us a brief insight into what your show is?
Exploring the lingering effects of three hundred years of Spanish colonial rule over the archipelago – now known as The Philippines – Baklâ is a moving, one-person physical theatre show about how intergenerational trauma takes shape in the modern Filipino identity.
When Catholicism has been weaponized to oppress both people of colour and the queer community across history, Baklâ uses sex and sexuality as a way of making sense of who you are. Trials of self-liberation take audiences on a journey of dishonesty, and toxic coping mechanisms in the search for identity, after the loss of an ancestral homeland and the resulting cultural amnesia: Is sex the best cure for a headache?
I set up Max Percy + Friends as my collaborators change depending on the project. I lead a cross-art-form company creating bold and innovative approaches to telling captivating stories and humanising complex social issues. We are passionate about human rights and influencing positive social change as well as amplifying underrepresented voices. Most notably, we produced the Untapped Award Winner 2022, This Is Not A Show About Hong Kong, shedding light about the human feelings and aftermath from the democracy protest in 2019. We were dumbfounded to have also won a Scotsman’s Fringe First Award 2022.
Tell us about the creative team and process involved?
Written, choreographed and performed by myself, directed by James Newton of The Wardrobe Ensemble and produced by Natalie Chan (Kakilang), with Stage Management from Lauren Lambert Moore, Baklâ begins with work-in-progress showings at Omnibus Theatre and Sheffield Theatre Deli and makes its premiere as part of Summerhall Festival 2023.
The play is currently supported by the Unity Theatre Trust and BOLD Theatre, with previous support from Lyric Hammersmith, Strike A Light, The North Wall, Camden People’s Theatre and NDT Broadgate.
How does it feel coming to the Fringe?
I definitely want to have fun and enjoy being at the Fringe this year! I want to meet lots of new people, make new friends and share my love of theatre.
This will be my third time participating; One time my show struggled, the other time we were extremely successful. However both times I wasn’t fully present. The Fringe is so tough so I’m really going to try to enjoy every part of it.
There are over 3,000 shows at the Fringe. So, what sets your show apart?
Probably the only show about queer Filipino identity at the Fringe (probably ever?). The show incorporates butoh dance, performance art, circus rope and the occasional sexual moan. It smashes together hilarious and sombre personal accounts with a mosaic of striking imagery, flicking between
indigenous ceremonies in pre-colonial Philippines, skin-whitening adverts and a BDSM party in London.
Is there anything specific you’re hoping for the audience to take away?
First of all: it was well worth the price of the ticket! I never like to tell people what to think or feel, people will respond to the work depending on the experience and relationships they bring to the subject matter. But I can promise feelings will be felt and thoughts will be thunk.
An hour is precious up at the Fringe and so yes ultimately I hope that it is absolutely worth sitting in a darkened room full of strangers with me for an hour. They might be inclined to encourage others to visit too.
Your ideal audience is in attendance, who’s watching? Or more importantly – who isn’t there…
It’s a new story presented in a new way. I’m looking to satisfy those seeking a little risk and danger. I’m talking about things that are difficult to say in the everyday. It’s an opportunity for collective contemplation on identity, sex, religion, race and trauma-based addiction.
It’s an intense month, so where you’re able, how do you plan to relax, and are there any other shows you intend to see or want to recommend?
There’s been an Asian Community Group for those from the diaspora bringing work up to the Fringe. I’m hoping to be able to go to them for support and restaurant recommendations in Edinburgh. I’d of course recommend supporting their work. Some include: Unforgettable Girl, Who Took My Malay Away, Government Approved Sex, Society for New Cuisine, Dual and An Asian Queer Story: Coming out to Dead People.
Otherwise, I really like weird work. High Steaks sounds brilliant and I am a desperate fan of European companies Fix + Foxy and Ontroerend Goed who are returning to the Fringe this year.
In your ideal world, how can we improve the world of the Fringe, of performance, and the industry?
If I’m honest, unless something changes I won’t be able to sustain working in theatre in its current state. Many fiercely talented colleagues are leaving or have left the industry. We need better models to look after freelancers. The funding system is broken and it’s been having an impact on the kind of art generated within the theatre ecology for years. Ironically – risk, innovation and curiosity are not rewarded within the current structure of the performing arts.
The Fringe is an interesting place where art and capitalism collide. It takes some real nerve to be able to hold your own as an artist.
