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“Valley of the Heart” at the Taper: Solid Script (Mostly) But Uneven Performance


The two families whose interdependence becomes essential in Luis Valdez’s “Valley of the Heart,” now at the Mark Taper Forum

As someone who has taught history for a few decades, there is no doubt that the ugliness of the Japanese Internment is one of the several inexcusable black marks on our American story. At a time when the fate of immigrants and refugees has been put into question by some elements of government yet again, it is good to go back and look at the ugliness of the past, if only to warn and mobilize those in the present.

From a theatrical standpoint, what matters is how this is addressed. Should it be a history lesson, a polemic, or a smaller, human story which underscores the wrenching effects of a historic wrong? In Luis Valdez’s “Valley of the Heart,” now at the Mark Taper Forum, this last proves far more powerful than some of the other recent attempts to refocus our collective memory on the concentration camps on US soil where people were held for the simple sin of being of Japanese descent.

The script is strong, most of the time – more consistently engaging and personal than many of Valdez’s works. The production is as well. A couple of performances, and an awkward tacked-on ending mar this piece, and they do so in ways which pull one out of the story and jeopardize the very empathy the play otherwise engenders.

The play is the story of Japanese farm family in what is now the Silicone Valley just as World War II begins, and the Mexican family living on their property, helping them work the land. Both fathers are immigrants, struggling to balance their old traditions with the changing world their children inhabit. They are proud, if reluctantly interdependent men fashioning an American life.

When Benjamin Montaño falls for Thelma Yamaguchi, it flies in the face of all those family expectations. Thelma is in line for an arranged marriage with her brother’s roommate at Cal, and between cultural disconnects and lack of independent income, Benjamin has little chance. Then Pearl Harbor changes everything.

With the Yamaguchi’s farm in jeopardy, and arrests and internments looming, the young couple elopes, but then must cope with Benjamin’s agreement to keep the farm going while his wife is shipped off with her family to a desolate area of Wyoming. How the two families experience war, changing status, and the sheer unreasonableness of their lives’ shifts makes history come alive.

As Benjamin, Lakin Valdez shows passion, character, and pain as he grows into responsibilities beyond what he expected. Melanie Arii Mah gives Thelma the awkward stance of someone rooted both in American culture and the traditions and rigid roles of her parents’ world.

Likewise, the two mothers – Joy Osmanski as Thelma’s, and Rose Portillo as Benjamin’s – have an authenticity in their portraits of women deeply concerned for their families and wrenched by the choices made. Also worthy of note are Justin Chen as the Yamaguchi’s college student son, Moises Castro as the teenaged younger son of the Montaños, and Scott Keiji Takeda as the privileged city boy arranged to marry Thelma.

Unfortunately, there is a disconnect between these other naturalistic and connected performances and that of Christy Sandoval, as Benjamin’s younger sister, and Randall Nakano as Thelma’s father. Both seem more rooted in the implied tradition of Kabuki, speaking their lines with an artificial, bombastic quality which simply doesn’t fit the rest of the production, at least until Nakano’s has a health issue which must be treated more naturally. Granted, there are other hints of Kabuki, including Mariela Arteaga and Michael Naydoe Pinedo’s work as Kurogo – the anonymous persons in black who handle prop and set changes and (at least in this case) provide the occasional necessary extra character in the story. Still, Sandoval and Nakano interrupt the rhythm and reality of the play.

One is surprised at this, given that the playwright is also the director. His long history with El Teatro Campesino (an associated producer of this piece) means he is no neophyte at directing, and this is his play to interpret and work into a cohesive whole. What works so well most of the time trips up on these two performances.

Still, there is much to recommend here. The use of shðji screens and projected environments by scenic designer John Iacovelli, especially when combined with the representational actions of the Kurogo, make for powerful visuals and set the tone for the struggles within. Lupe Valdez’s costumes set the period and economic structures with subtle ease.

And, of course, there is the terrifically important tale of two immigrant cultures in California, and their joint response to the terrible inequalities of their time. As such it proves particularly powerful, and rather hopeful.

What: “Valley of the Heart” When: through December 9, 8 p.m. Tuesdays through Fridays, 2:30 p.m. and 8 p.m. Saturdays, 1 p.m. and 6:30 p.m. Sundays, with an added performance 8 p.m. Monday, November 19 (and no performance on Thanksgiving). Where: Mark Taper Forum, 135 N. Grand Ave. in downtown Los Angeles. How Much: $30 – $99. Info: (213) 628-2772 or Read more of this post

Poetic, Surreal Tribute to an Icon: “Properties of Silence” upstairs at the Pasadena Playhouse

Properties of Silence - Upstairs at the Carrie Hamilton Theatre

Properties of Silence – Upstairs at the Carrie Hamilton Theatre

The venerable About Productions, a company devoted to creating original interdisciplinary theater, and educational programs to go with them, is celebrating its 26th anniversary by bringing back favorite productions from their past. One of these, the brief, somewhat surreal salute to Sor Juana Ines de la Cruz, “Properties of Silence,” has been revived at the Carrie Hamilton Theatre, upstairs at the Pasadena Playhouse, accompanied by a salon series of post-production events.

The play itself can best be categorized by saying that it is to theater what a Frieda Kahlo painting is to art: representational to a point, then enhanced with the surreal quality of dreams, portents and symbolism. By Theresa Chavez, who directs, Alan Pulner, and Rose Portillo, who portrays Sor Juana, the play meshes the story of the famed scientist-nun with that of a modern real estate saleswoman in Arizona drifting into new realizations about her life with her swimming pool contractor husband. But that’s really just the representational layer.

Sor Juana, a 17th Century Mexican nun whose choice of the convent was more about the chance to remain single and to study than about faith, became known internationally for her plays and poetry, but also for her scientific experiments and her vast collection of books. Yet, in the end, the church hierarchy was not comfortable with a nun – a woman – achieving this kind of temporal notoriety and she was shut down. For this play, based philosophically upon two of her writings, we examine the changes of life which provide equal shifts in self-definition. This is then brought to modern times.

Portillo gives Sor Juana an elemental internal calm, which works as counterbalance to the upheavals of the modern couple. As Barbara, whose discovery that she has followed an unfamiliar path at the end of a familiar day signals a major emotional shift, Elizabeth Rainey literally and figuratively peels the layers from her normal existence until she begins to resonate with Sor Juana’s search for meaning. Kevin Sifuentes, playing both the dominant, success-oriented pool contractor and the voice of church authority, becomes that contrary male image in the face of female self-discovery. His performance is solid, marred only on occasion by the necessity to be a quick-change artist.

The underlying structure of the play addresses that moment when one’s life shifts dramatically, but sometimes in unseen ways. The use of ancient philosophical statements, especially Heraclitus’ “No man steps in the same river twice, for it is not the same river and he is not the same man,” guide the piece into larger statements about growth, change, and the finding of oneself. All of this is done with impressive rapidity, as the show comes in at just under an hour.

Director Chavez has a handle upon the dreamlike quality of this thing, making walls blur and time periods mesh as only dreams can. Then, as it ends – and after a brief intermission – one can mesh one’s feel for the material of the play with one of the many addendums provided afterward, from poetry readings by local published authors to discussions with various members of the creative team, depending on the day.

“Properties of Silence” is fascinating to gradually unravel. Just be aware that the unraveling is necessary, just as much as it would be looking at one of the more profoundly odd Freda Kahlo paintings.

What: “Properties of Silence” When: Through March 29, 8 p.m. Thursdays through Saturdays, 3 p.m. Sundays, with a special benefit performance on March 8 Where: The Carrie Hamilton Theatre at The Pasadena Playhouse, 39 S. El Molino Ave. in Pasadena How Much: $30 general, $15 students with ID, $60 for all patrons for the March 8 benefit Info: (626) 396-0920 or

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