Posts

Showing posts from March, 2016

Strip, tease

When the day is long and the night is mine alone, I fantasize about performing a striptease for a guy I fancy. He can be a friend’s friend, an almost lover, or the boy on TV. I dream up yellow lights and faint music. I picture awe, wonder and hunger in his face. I also imagine a different self: me but not quite like me — someone limber, leaner, with flawless, poreless skin.

Any person who claims to have zero body image problems is lying. Youth is no guarantee of perfection and adulthood does not come with a kinder attitude towards oneself. Self-help articles, another’s affirmation, and the acceptance of people who matter can take away this doubt (and to an extreme, disgust) we harbor against our bodies. And sometimes watching others move so comfortably in their skin, doing what you wouldn’t expect them to, allows you to look at yourself with more loving eyes. Such is the case with burlesque.

Last February, DopeLoco brought Manila its first neo burlesque show, Eyes Wide Shut. For those…

The sound, the vision, The 1975

Image
When artists discuss their creative process, the poets their poetics, you have to restrain yourself from listening if only to avoid disappointment; because more often than not, the theory ends up more elegant than the practice. A reason that when The 1975 announced the release date of “I like it when you sleep, for you are so beautiful yet so unaware of it” months ago and interviews with the band about it surfaced here and there, I felt an equal amount of thrill and fear: Finally! But. Will the build-up — which began with a dramatic sequence of social media posts suggesting a breakup, followed by a stream of song titles and lyrics teasers alongside hints of a new color palette — be more beautiful than the album itself?

The Manchester-based fourpiece composed of Matty Healy (vocals, guitar), George Daniel (drums), Adam Hann (guitar), and Ross MacDonald (bass) has delivered something attractive in their self-titled debut album, “The 1975”: music that’s “very now” in a sense that it con…

Almost, Maine and the business of subverting cliches

Image
Judging by the title and poster — a cartoony rendition of a snowbound world with nothing but an empty bench, a few pine trees, and the words “almost” and “maine,” separated by a comma, written in child’s cursive (the i dotted with a heart) — Repertory Philippines’ Almost, Maine seems like a story that disguises depth with light-hearted humor. It almost is.

A man and a woman sit side by side on the familiar bench and discuss distance. Girl thinks they are, at that moment, closest to each other, while guy argues the exact opposite. Nothing else is presented to the audience that merits any further reading of the situation. It is as literal as it can get. And we’re interested.

What follows are eight vignettes about people in and out of love in the town of Almost, Maine. As a Valentine offering, Repertory Philippines brings the John Cariani play to Manila with actors Reb Atadero, Natalie Everett, Caisa Borromeo and Jamie Wilson taking on multiple roles under the direction of Bart Guingona …