REVIEW: Bahala/o at Metro Arts

As I stepped into Metro Arts New Benner Theatre, I was immediately intrigued: a catwalk stage blanketed in rice, a single pedestal fan, and two performers, Buddy Malbasias and Claire Dark, sweeping the scattered grains. In these pre-show moments, they were simply themselves, welcoming patrons and exchanging light conversation with each other and the audience. These pre-show moments of casual interaction created an inviting and intimate atmosphere, with a sense that something extraordinary was about to unfold.

Equal parts dance, physical theatre, and vivid imagery, seasoned with spoken word and a generous serving of rice, Bahala/o ditched the recipe and served a genre-defying delight.

Crafted, choreographed and performed by powerhouse talent Buddy Malbasias, Bahala/o explores the Filipino diaspora and queer experience. Guided by the philosophy bahala na, a powerful paradox of agency and surrender which loosely translates to “whatever happens, happens”, the work invites reflection on identity, hybridity, and the quiet freedom found in uncertainty.

Image by Georgia Haupt

Bahala/o has evolved significantly since its first public showing at Backbone’s Festival last year, emerging as a refined 50-minute experience. The choreography drew deeply from Malbasias’s roots in the Philippines, weaving fragments of life into movement in memory and possibility with shifting versions of self, kept or surrendered along the way. It was cheeky, tender, and intimate; yet never self-indulgent, striking a delicate balance between playfulness and depth.

Malbasias and Dark are undoubtedly an electrifying duo, delivering high-energy dance sequences across countless styles including contemporary, waltz, budot, waacking, and even a musical (albeit a failed one but fabulous nonetheless).  

Vibrant and infectious, Ellen King’s composition with DJ Love’s tracks gave the work its beating heart. Bri Clark’s vivid lighting design synced perfectly with the score, transforming the world into a colourful, haze-filled rave while guiding the audience through the emotional beats of the piece. Costuming by Aeron Maevin was thoughtfully designed: a jumpsuit crafted from hessian rice-sack material, flowing white cotton sets, and underwear that, when added or removed, revealed shifting facets of identity.

There were so many standout moments in this production that choosing a favourite feels impossible. I particularly loved the spoken-word elements woven throughout the performance, especially the opening number’s playful, throwaway lines filled with nostalgic Aussie and Y2K references, projected into a pedestal fan whose hum created a vibrating effect. It gave the performance a texture that felt both fresh and familiar, while guiding audiences on a transcendent journey.

Malbasias expressed that rice was the foundation for this work and its world; it “holds deep symbolism [...] it’s sustenance, offering, celebration, and grief – it’s life itself”. The duologue “How to Make Rice: A Staple Food That Transcends Cultures” stood out as the show’s longest scripted segment; yet held the audience completely captivated. At the sound of a bell, what began as simple cooking instructions erupted into a kaleidoscope of styles: multilingual declamations, exaggerated mime, seductive persuasion, and absurdist flourishes. This constant shape-shifting created an energetic and unpredictable component of the work that celebrated rice as a food that truly transcends cultures. 

Bahala/o is an important work that deserves a prominent place on the Australian stage, excelling in its portrayal of personal narratives, broader cultural reflections, and its overarching theme of belonging. Bahala/o was an absolute sensation despite receiving no formal funding; a testament to its extraordinary scope and ambition, which Malbasias hopes to fully realise in a future iteration. I’m eager to see how this project evolves and I can’t wait to claim a front-row seat.

5 Stars

Read more about the show here!