Reviewing Theatre For Over 40 Years
Tag Archives: Angela Lin
There is a moment toward the end of a favorite documentary where people who grew up in the then-segregated African-American neighborhood around Central and Slauson in L.A. talked about the loss of that neighborhood with regret. Entrance into the mainstream was great, they say, but they lost those close knit community ties. I could not help but think of this while watching Lauren Yee’s funny, insightful “King of the Yees” at the Kirk Douglas Theatre in Culver City. Only this time, the community beginning to fray was, and is, San Francisco’s Chinatown, with its antique buildings and firmly held traditions.
Indeed, focal to the entire piece is the impressive, beautifully carved, red door of the Yee Family Association, of which Lauren’s father in the play is the president. That door, situated center stage, represents the Chinatown which the onstage Lauren sees as archaic and dissolving. Or does she.
In this world premiere, what begins as a standard “let me tell you about my father and my heritage” play soon takes a far more engrossing, positively Thornton Wilder-like turn. Hovered over by this very traditional, and apparently powerful door, one ends up touching on several elements of the modern Chinese-American (and larger Asian-American) experience with wit, a certain mysticism, and an underscore of hope.
Central to the piece are the performances of Stephanie Soohyun Park as Lauren and Francis Jue as her father Larry. The other cast members, Rammel Chan, Angela Lin and Daniel Smith provide a wide range of other characters, from actors to mystical persons, which pepper this engrossing journey.
Jue brings to Larry a balance of confidence and apparent innocence, tonally idealistic yet rooted in the practicalities of his supposedly insular world. This provides the perfect foil to Park’s crispness as her character’s assimilated Americanism bounces against the traditions of her childhood. The chemistry between the two creates a specific energy which powers the rest of the piece.
And that “rest” also proves engrossing, from discussions of the stereotypes demanded of Asian actors, through an examination of ritual and connection, to a brief, humorous window on the secret world beneath the touristy elements Chinatown presents to the world. The play proves, all at the same time, goofy, tender, pointed, illuminating and tremendously fun to watch.
Director Joshua Kahan Brody keeps the production’s pacing necessarily crisp, creating the quick transitions between thoughts and characters so needed in a play this potentially convoluted, allowing the audience to follow along with ease. Another star has to be Mike Tutaj, whose projections (along with set designer William Boles’ big red door) stir the mysticism, and (along with Mikhail Fiksel’s sound design) add to the comedy.
Still, all of these arrive in service of a fine play. Yee has the ability to make pointed, apparently autobiographical commentary in a way which enriches, entertains, and affirms. This play never talks down to those for whom the conceptual details are new, and manages – at least in this production – to find a common ground in the ongoing American discussion of the balance between keeping one’s own cultural heritage and becoming, if not part of a “melting pot,” at least one flavor in the tossed salad that is this country at its best.
What: “King of the Yees” When: Through August 6, 8 p.m. Tuesdays, Wednesdays and Fridays, 8:30 p.m. Thursdays, 2 p.m. and 8 p.m. Saturdays, 1 p.m. and 6:30 p.m. Sundays Where: Kirk Douglas Theatre, 9820 Washington Blvd. in Culver City How Much: $25 – $70 Info: (213) 628-2772 or http://www.CenterTheatreGroup.org
In Diana Son’s “Stop Kiss,” there are two central themes: the gradual development of a strong relationship that solidifies into love, and a violent act which rips the warmth from that story yet also does much to solidify its definition. The two themes unfold at the same time, allowing the audience to process both violation and relationship in an intertwined, very powerful way.
In essence, the tale is one of Callie, a long-time New Yorker, and the friend-of-a-friend newly moved from St. Louis, Sara. Callie’s social life hangs upon her college relationships, as she surfs a high profile but unsatisfying job and lands the perks of “who you know” as a city-dweller. Sara brings with her an idealism, having received a grant to spend two years teaching 3rd grade in the Bronx, and a sense of forward motion Callie has missed. The two click immediately, becoming fast friends moving slowly but inexorably toward something more. Then, at the moment of transition, their world shatters in a hate crime.
Angela Lin makes a genuine, worldly yet innocent Callie, secure in her world, yet still searching for meaning and connection. Sharon Leal exudes a personal confidence as Sara which, even though counteracted by her initial sense of being a New York outsider, leads to an expansion of both her own and Callie’s view of their worlds.
As Callie’s guy friend and occasional bootie call, John Sloan provides the symbol of her life before the play begins – one lived at arms length from true emotional connection. Brandon Scott, as the young man Sara left behind, provides a view of her own, solidly Midwestern, interconnected roots. Jeff de Serrano offers up the classic detective, hammering for facts and thus making Callie face home truths. Amanda Carlin, though also a hospital nurse, makes the most impact as the witness to the attack who calls police: empathetic but from a distance.
Director Seema Sueko uses David F. Weiner’s easily shifting set pieces to switch back and forth from the charm of a New York apartment to the chill of a street with great swiftness, keeping the pace going and thus the two tensions moving as well. In this play, performed without intermission to also avoid a break in the elemental flow, this proves key. Combine that with the charm, the sheer likability of the two main characters as portrayed, and one simply cannot look away. In the end, the responses of everyone onstage achieve a natural quality which may even be the point, but certainly lets the dramatic endings sync together like a resolved fugue.
“Stop Kiss” was written in 1998. What is both warming and sad about that fact is that the very scenarios described therein could happen today, 16 years later. Some of what is discussed is, for the traditional Playhouse audience, a bit controversial. Yet, that is not at the core of why one should see this lovely piece. Love, trauma, shattered dreams, and new realizations are foundational to many beloved moments in the theater. The themes do not change because the characters are different.
But then, of course, seeing them applied to these characters offers a chance to find that face, albeit a fictional one: that character (or characters) which can humanize an issue, and create the very empathy which brings an understanding and helps a society to move forward. Seems a tall order for a small relationship play, but it could be a start. This especially when the production is as fine, as moving, and as meaningfully intense as the one at Pasadena Playhouse.
What: “Stop Kiss” When: Through November 30, 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: $45 – $75, plus premium seating for $125 Info: (626) 356-7529 or http://www.PasadenaPlayhouse.org