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Author Sandra Tsing Loh has made her name speaking to things many women wrestle with as they grow up and grow older, often with a wry humor which takes the edge off her topics’ occasional edginess. Best known to most Los Angelinos for her quick “The Loh Life” spots on KPCC, Loh has a a larger radio presence nationally, and has published popular books, including the celebrated memoir “The Madwoman in the Volvo: My Year of Raging Hormones.”
Now she has turned that book into a play, just opened at the Pasadena Playhouse. From a trip to the desert and Burning Man, through marital upheavals and the re-sorting of her entire life, the play – a combination of narration and caricature – walks us through the hot flashes, sudden passion shifts and travails of Loh’s entrance into menopause. Often funny, the show also cuts close to the bone, detailing her mother’s retreat into depression, and her own struggles with the emotional wrenches hormonal changes and life changes can bring with them.
The results are mixed. The editing necessary to turn a full-blown memoir into a 90 minute play with no intermission means the tone shifts, particularly at the end, can be jarring. Not the storyline itself, though it is frantically episodic, but the actual tone of the narration – that moment when wry wit won’t do, and yet shift to seriousness meets with resistance. In the end, one can celebrate the performances, which are intense and compelling, but still wish for a bit more work on the script itself.
Joining Loh, who shifts constantly from narrator to participant in her own tale, are Caroline Aaron and Shannon Holt, who play absolutely everyone else important to the story line, from gal pals on an adventure, to boyfriends, therapists, and all the other personalities which give this construction its most compelling moments. The sheer versatility of the two, who create individual character after individual character, becomes the focal joy of this production.
Director Lisa Peterson keeps the tale moving, and pacing is key in anything this episodic. Rachel Hauck’s geometric, open set design allows the “setting” to become anything needed, from a coffee house to an RV, simply by dint of audience imagination – another great aid to the pacing and flow of the piece. Indeed all the pieces are there, production-wise.
Yet, that ending still needs work. Yes, the arch tone of the beginning morphs into the seriousness of depression, and there are some issues with that shift, but perhaps most jarring is the almost tacked on upbeat close. Genuine though all its parts are, the final polish still isn’t quite complete. Still, there is much to recommend “The Madwoman in the Volvo” (the term comes from the moment she pulls off the freeway to have a meltdown), and much is very recognizable. And there are Loh’s familiar humorous descriptions, which can make even a session with a couple’s therapist funny in the extreme. It can only get better.
What: “The Madwoman in the Volvo” When: through June 26, 8 p.m. Tuesdays through Fridays, 4 p.m. and 8 p.m. Saturdays, 2 p.m. and 7 p.m. Sundays Where: The Pasadena Playhouse, 39 S. El Molino Ave. in Pasadena How Much: $25 – $77, premium seating $125 Info: (626) 356-7529 or http://www.pasadenaplayhouse.org