Review: Bahala/o
Picture (L to R): Buddy Malbasias and Clare Dark (Image credit: Creative Futures Photography)
Metro Art’s latest show, Bahala/o, delivers on promises of 'two distinct performers, one pedestal fan and a whole lot of RICE' in a production that channels the spirit of the Filipino philosophy, ‘Bahala Na’ (“whatever happens, happens”), to unpack the layered realities of living between cultures.'' Buddy Malbasias is credited as Director, Choreographer, and Performer, but creative powerhouse might be a better description. With the support of a strong creative team that includes Liesel Zink (Dramaturg), Ellen King (Composer), Aeron Maevin (Costume Design & production), Buboy Raquitico (Cultural Mentor/Consultant), and Briana Clark (Lighting Design)—and thanks to the impressive work of Clare Dark (Performer and Collaborator)—Malbasias brings a refreshing new work to the stage.
Expect to be wowed, entertained, and possibly to be covered in dry rice. Bahala/o is a show that cleverly interweaves rice references—starting with the costumes, as the performers begin the show wearing ‘hessian rice sack’ numbers while they slowly sweep away rice from the floor and chat to arriving the arriving audience. Which brings me to my two hot tips. The first is to enter the performance space as soon as the doors open—to enjoy the ambiance, admire the traverse ‘runway’ stage, and select a front row seat if you can. And, unless you like rice with your wine, my second tip is to make sure you cover your glass, as there are moments of rice throwing, rice sweeping, and walking/dancing on rice.
If I had to categorise Bahala/o using just one word, it would have to be dance. But it is also a theatrical event, with comedic moments, and cookery references. This is a show that is high-powered, funny, messy, cheeky, and sometimes even silly. For example, I love the clever and fast switching between theatrical/filmic styles in the performance of information about to how to cook rice, and wonder if the genre-shifting ‘readings’ of the instructions had evolved from time spent waiting for the rice cooker timer to ring.
Bahala/o switching between genres is also reflected in the incorporation of many different dance styles. The show was my first introduction to the repetitive high-energy street-style, TikTok Filipino favourite 'Budots dance.’ However, Bahala/o, also incorporates an eclectic mix of dance—from waltz and musical theatre, through to salsa, ‘Ring My Bell’ disco, and rave moves.
It is difficult to reduce this show to just three favourite moments. Mine are Malbasias’ catwalk moves to the spotlit fan, the humorous fourth wall breaking invitation to give the artists their ‘musical theatre moment,’ and of course the incredible opening dance. Malbasias describes the Budots section as a favourite. Set to the music of DJ Love, the director describes the Budots dance as carrying ‘so much memory, place, and history for me. That section feels like the heartbeat of the work—playful, nostalgic and deeply connected to my roots.’ Dark and Malbasias’ opening dance, with Budots moves, is full-on, high energy, and completely captivating.
Diasporic communities often struggle with belonging, where notions of home and identity can be conflicted and challenging. In Bahala/o, Malbasias demonstrates ways in which artists find new ways of identifying and establishing community and connection—of honouring their heritage, and of sharing lived experience of their new homeland with the broader community. ‘Bahala na’ may represent a fatalistic sense of ‘what will be, will be,’ but it’s also a way of thinking about the courage to be yourself, to live away from your family, and to keep taking steps forward. Or, as demonstrated by the artists, to embrace your heritage and make giant rice-fuelled steps into the unknown.
Bahala/o is a new, genre-defying experience. You can’t order this one online, or have it delivered to your door. This is a rice dish that is worth leaving home for.
Audience information: Bahala/o, New Benner Theatre, Metro Arts, West End Village, West End (19-29 November 2025). Tickets $29-$49 (plus transaction fee of up to $3.90. Adult themes, occasional mild coarse language, sexual references, theatrical haze/smoke, loud music, and some strobe lighting effects. A lockout period applies, 55 minutes, no interval.
Additional credits: Petria Leong (Stage Manager), and Jo Loth (Voice Coach).
The reviewer attended the 20th November 2025 performance.