Reviews for theater within the greater Los Angeles area.
Tag Archives: David Zinn
May 23, 2018Posted by on
There is a moment in “Soft Power,” the new “play with a musical” which premiered this week at the Ahmanson, when the disquiet hits you. The show has a lovely time acknowledging musical theater tropes, discussing the power of the musical to slowly convince people of an idea (this is what “soft power” is – gradual bending of minds), and expressing the outrage and increasing xenophobia which accompanied the 2016 election. However, it is also using that very soft power to behave like a propaganda machine. You become enthused, then disturbed by the fact you have been gently manipulated toward that very enthusiasm.
Which may be the point. David Henry Hwang, the remarkable Chinese-American playwright, and Jeanine Tesori, whose “Fun Home” was a highlight of the last Ahmanson season, have created a subtly complex theater piece in the guise of something far lighter.
As has been true in the past, Hwang makes himself a character in the piece – an American writer trying to work with Xue Xing, a television producer from The People’s Republic of China, without much success. The things which keep them at odds have a lot to do with differing views of family responsibility and love. In the midst of their attempted collaboration, Hwang, Xing’s American girlfriend Zoe, and Xing go to see “The King and I” and to a rally for Hillary Clinton. Only Xing, by line-jumping, actually gets to meet her, and even take a selfie.
Shortly after, a near catastrophe takes Hwang into a dream world. This dream is the musical, detailing how Xing would recount this episode of his life in later years, complete with a lot of spin. It is charming, tossing in all kinds of homages to the American musical form (including even the idea of using a dream sequence to advance the story).
In it, Xing and Hillary have a far less fleeting moment. She is seen as a commodity marketing herself in ways Miley Cyrus would approve of, and Xing’s condescending view of democracy seems underscored by the 2016 election outcome. Indeed, Hillary is herself romanced – at least for a while – by the description of order and intelligent leadership Xing presents as an alternative.
As Hwang awakes from this dream, he must wrestle with the images it carried. Though dealing with the rising xenophobia around him, he rises to a hopeful, emotionally satisfying musical conclusion. To an audience in California, where 2/3 of the voters picked Hillary and were as appalled as those onstage with the final results, this is an easy sell. Almost too easy. Songs bring people to their feet, exactly as they are expected to. Oh, how easily we are swayed.
Still, there is the fear, even in the show, that Xing’s version of events will win out, and as playwright Lillian Hellman pointed out in 1934, a lie repeated often enough becomes the truth. It is this which one should actually be wrestling with here.
In the process, however, one finds a clever script filled with high humor and the occasional low comedy, and with music which resonates after the curtain falls. A highly versatile cast makes this extremely episodic and somewhat fractured story work.
Most particularly, Francis Jue gives Hwang the tone and aspect of the wry observer, who must in the end come to wrestle with both truth and hope. Conrad Ricamora gives Xing a vibrating confidence which makes his message all the more powerful and his humanity all the more charming. Alyse Alan Louis, as the progressive Zoe and the dream Hillary, finds a humanity in both even as her portrait of the former candidate must by the very nature of this piece be completely over the top.
A remarkable ensemble brings all the other characters to life, from stuffy old-boy senators, to Chinese media stars, American street hoods, and Hillary campaign supporters. Perhaps the most pointed standout is Kendyl Ito, whose portrait of Xing’s daughter provokes great laughter of recognition simply by body language. Still, there is no weak link in the entire cast.
Director Leigh Silverman has used David Zinn’s mobile set pieces to keep this rather various and deeply episodic piece flowing, funny, and consistently engaging. Choreographer Sam Pinkleton creates a sense of culture and space, while offering strong nods to the musicals this piece honors as much for their ability to sway as for their art. The costumes of Anita Yavich, with hair by Tom Watson, allow the quick shifts in ethnicity, age and status. Music supervision by Chris Fenwick continues the polish
Indeed, this is all done very, very well. Which is the most unnerving. From the start “Soft Power” is out to display the ability of song, which goes to the heart without necessarily passing the head, to instill belief systems, and create rallying cries. And it does.
What: ‘Soft Power” When: through June 10, 8 p.m. Tuesdays through Fridays, 2 pm. and 8 p.m. Saturdays, 1 p.m. and 6:30 p.m. Sundays, with an added 2 p.m. performance Thursday, June 7 Where: The Ahmanson Theatre, 135 N. Grand Ave in the Music Center, downtown Los Angeles How Much: $30 – $130 Info: (213) 972-4400 or www.CenterTheatreGroup.org
February 25, 2017Posted by on
It is rare to say that one has seen a musical without a flaw – or at least a flaw that doesn’t serve the purpose of the work – yet that is what must be said of the musical “Fun Home,” just opened at the Ahmanson Theatre. The winner of 5 Tony Awards, including Best Musical, the show is adapted from the award-winning, autobiographic graphic novel by Alison Bechdel. On stage, one watches the tale that Bechdel told in her book, while at the same time watching the artist wrestle with its creation. This all works with a wit and pathos which proves engaging from start to finish.
“Fun Home” (a family euphemism for the family business – a funeral home) is the story of Bechdel’s coming of age in a tiny Pennsylvania town, focused on two competing forces: her relationship with her autocratic, esthete of a father (whose life in the closet informs his connection with his family) and her coming to terms with her own lesbianism.
Utilizing three versions of Alison at the same time, it features the 43-year-old cartoonist Alison, the 19-year-old “Medium Alison” in her discovery-filled first year at Oberlin, and the 10-year-old “Small Alison” trying to figure out the hows and whys of her particular, peculiar world. These three, played quite brilliantly by a wry Kate Shindle, a wide-eyed Abby Corrigan and an extraordinary Alessandra Baldacchino respectively, center the piece in its convoluted but engrossing character studies as Alison bounces off the people who formed her understanding of self.
As musicals go, this one defies some of the usual conventions. The songs of Jeanine Tesori, who composed the music, and Lisa Kron, who wrote the lyrics as well as the book, prove organic to the tale itself, moving with ease from delightful silliness to deep introspection in ways which may not be immediately hummable but rather become emotional touchstones within the larger tale. In their lighter moments, the charm is radiant, as one realizes early on when Small Alison and her two smaller brothers (Pierson Salvador and Lennon Nate Hammond) create their own ridiculously upbeat commercial for the funeral home, after being caught playing inside a casket.
In darker moments, they provide the vehicle for understanding the interior wrestlings of Alison’s parents, as they sing their inexpressibles. As her father, a popular local English teacher with an obsession for antiquities which extends to his museum-like restoration of their home, Robert Petkoff’s every move evokes subtle hints of the man’s internal struggles. Susan Moniz gives her mother, the ballast of this tense and exacting household, a particular form of rigidity rooted in both knowledge and anger.
As Alison’s college girlfriend, Karen Eilbacher moves with an ease which describes her comfortable self-knowledge, creating a door for Alison’s own. Robert Hager rounds out the cast, and underscores the father’s angst and sense of shame, as a series of separate and distinct young men who attract his illicit fancy. Which may give the impression that “Fun Home” is grim. Nothing could be farther from the truth. Though there are moments of deep sadness and guilt, this is essentially the story of self-discovery, and the joy to be found in being oneself.
Director Sam Gold keeps the thing fluid, as David Zinn’s costumes and sometimes minimalist sets make one able to look backward and forward at the show’s critical moments. Danny Mefford’s choreography utilizes the children’s gifts most remarkably, while Chris Fenwick’s musical supervision, and Micah Young’s musical direction of the onstage orchestra, links the real and the fantastical into a most satisfying whole.
“Fun Home” is, in the end, a whole-body experience. Played in 90 minutes, without intermission, its slow build keeps one enthralled until the shock and understanding of ending – one which tends to propel the watcher to his or her enthusiastic feet.
What: “Fun Home” When: Through April 1, 8 p.m. Tuesdays through Fridays, 2 p.m. and 8 p.m. Saturdays, 1 p.m. and 6:30 p.m. Sundays, with added 2 p.m. performance March 30 Where: The Ahmanson Theatre, in the Music Center 135 N. Grand Ave. in downtown Los Angeles How Much: $25 – $125 Info: (213) 972-4400 or http://www.CenterTheatreGroup.org