The Last Bull
Legend-making is tricky business. Issues of representation, exaggeration, and neutrality abound. Checkpoint Theatre approaches this endeavor with grace, inclusion, and joy, in their most recent production, The Last Bull, a sketch of the life story of Antonio Vargas – a legendary flamenco dancer and current resident of Geylang.
The Last Bull is both grand and anecdotal – a mélange of memory and the now – joining dance, theatre, film, and music into a celebration of a life, art, and passion. A cast of performers from Checkpoint Theatre work joins Antonio Vargas to narrate his life journey from his birthplace in Morocco, through his renowned career as a flamenco dancer and choreographer, to his current home in Singapore.
The level of Vargas’ artistic mastery, developed over a 60-year career in Flamenco, is mesmerizing. His poise, precision, and passion are extraordinary. His impeccable rhythm is complemented by a fervent and pure delight in movement. While Vargas could easily be the sole focal point of The Last Bull, Claire Wong and Huzir Sulaiman (artistic directors of Checkpoint) make sure this isn’t so.
My initial doubts about the universal relevance of a single man’s life story are quickly dissipated, as the archetypal tale of Vargas’ extraordinary artistic success is intermingled with raw and vulnerable testimonies delivered by a diverse cast of performers. They share openly about the challenges and joys of choosing an artistic professional path, the doubts and support of their families, and the parts of their bodies they most love and reject. At first these testimonies feel out of place, but as the piece progresses, their connections are clear and strong.
While The Last Bull is certainly an introduction into the world of flamenco – a world that much of the audience likely knows little about – it becomes clear very quickly that it is much more than that. The Last Bull humanizes professional artists, reflecting upon the honest hardships (and joys) of choosing an artistic path. It also considers the complexities of artistic specialization, and the era of prodigies and maestros.
Perhaps most unexpectedly, The Last Bull also feels like a celebration of Singapore.