Archive for category Play Reviews
Posted by Darshana V. Nadkarni, Ph.D. in Hindi - Bollywood Movie Reviews-- Play Reviews-- NAATAK-- Poems-- Event Reports, Play Reviews on March 2, 2018
Set in an unnamed city in India, Naatak’s current play Muavze gives a peak in the world of Indian politics where everything has a price; everyone has a price and everyone have learned to extract whatever they can when the cards are played. Written by Bhisham Sahni and directed by Harish Agastya this play is a witty and hilarious satire on how everyone begins to plot ways of benefiting from the communal riots when it looks as if the riots are imminent. Interspersed with colorful Bollywood type songs and dances and brilliant set, the play keeps the audience riveted. Kudos to Ritwik Verma and Harish Agastya for very apt lyrics, Rajesesh Tripathi and Saurabh Jain and team for absolutely incredible sets and props, Anitha Dixit and Srikar Srinath for fantastic music, Manish Sabu for English supertitles, and entire large cast for excellent acting. Photo credit to Kyle Adler at kadlerphotography.com/events/naatak-muavze/
The word “Muavze”, meaning compensation is a relieving word and it is an irony that everyone is eyeing for ways to distill some form of personal advantage from what is expected to be most bloody communal fighting. Apparently a dead horse is an instigation for entire community to go into riot prep mode. While no one thinks of ways to prevent the riots, everyone is preparing for them from politicians who are keeping prepared speeches to be given at the beginning and end of the riot, to speech writers, to police team going on high alert ready to intervene after the riot begins, but not before, to arms and knives sellers hawking their wares to the highest bidders. Even some brave individuals are preparing to sacrifice the men in their families so that the remaining members of the family can benefit from the compensation that the government has announced, for anyone killed during the riots. It is such an irony that value of life and limb is predetermined and therefore the riot is now looked at by everyone as a mere fact of life to deal with and benefit in ways they can. It is absolute genius of Bhisham Sahni that he has taken most terrifying subject of communal bloodshed and expressed it as a comedy, without losing sight of the intensity and impact of the riots in a community.
It is also absolute genius of brilliant director Agastya that he has managed to transform the play into an amusing musical through catchy lyrics and parody music, without losing the seriousness of the subject. Starting with juxtaposition of opposing words like riots and compensation, the entire play offers a medley of opposing ideas, characters, actions, settings, and phrases. For instance, a contract killer adheres to strict code of ethics and also does not drink alcohol so he can go home, drink milk, and forget about the killings and sleep happily. There is juxtaposition of settings and also of lyrics in songs, for instance, parody of song, “Some of my favorite things” in film Sound of Music has become “Muavza jo de de humko” and song “Vaada tera vaada” of film Dushman has become “Yeh hai mera neta”.
While the play is a window into the world of the communal fighting and the toll it extracts in a community, it also speaks to immense resilience of human beings. When extremely heart-rending situations become a way of life and get ingrained in the system, when human beings are mere cogs in a gigantic wheel, unable to stop or challenge, then their choices are to get crushed by the gigantic wheel or become part of running it and extract personal benefit. The ultimate irony is that when masses pick up the call to propagate the system then the system gets more entrenched and the play ends in a nightmare when contract killer is popularly chosen to become the political leader. Kudos to NAATAK for such a timely play. This is an absolutely brilliant and not-to-miss play of this theater season in the bay area. For tickets, go to www.naatak.com .
This play is set in Montgomery, Alabama, a place that has so much historical significance, both as the Cradle of the Confederacy and the Cradle of Civil Rights. “Alabama Story” is a powerful play by Kenneth Jones and is inspired by real events in “the Deep South of the imagination”.
The incident springs from an innocent children’s story book published in 1958 (one may say it hides an apparent message promoting diversity). Author and illustrator Garth Williams (best known for his illustrations in Charlotte’s Web and Little House On the Prairie) released a book called The Rabbits’ Wedding, where a black rabbit marries a white rabbit. This gentle children’s book created a massive stir and ignited the passions of a State Senator who harbored strong segregationist agenda. Senator Higgins (Erik Gandolfi) issued a request for the book to be pulled out of state’s library shelves on the charge that it promoted “race-mixing”.
The story would end there, if it was not for a no-nonsense State Librarian, Emily Reed (Karen DeHart). She counters him saying that the book is an important vehicle for educating the impressionable youth and young minds must get all the information available so they can make their own decisions about people and circumstances. She in fact, ordered the book to be pulled out of shelves and out of general circulation and instead put it in reserve circulation so that it would always remain available.
This public feud unfolds against the backdrop of intimate story of childhood friends, Joshua (Bezachin Jifar), son of a house slave woman and Lily Whitfield (Maria Giere Marquis), daughter of a slave owner.
This is a simple yet powerful play that makes a bold statement about how a character may be tested at critical times and those who can withstand the test of character are the powerful figures that reshape the community; reshape a nation. Reed faced tremendous political pressure from the state politicians and at one time she said, “We have had difficulty with the book…. But we have not lost our integrity”. Mixed in with the politically charged focus of the play, there is some courtroom drama, childhood love, hint of passion, and a glimpse into how history may have unfolded in so many different ways, big and small, in private and intimate recesses of one’s mind and in public arena, during one of the most significant periods in America. Superb direction is by Lisa Mallette, who is in her 17th season at City Lights.
I declare, this is a not-to-miss play of this theater season and will be running at City Lights Theater in San Jose, until February 18, 2018. For tickets, check the website www.cltc.org .
Posted by Darshana V. Nadkarni, Ph.D. in Hindi - Bollywood Movie Reviews-- Play Reviews-- NAATAK-- Poems-- Event Reports, Play Reviews on September 10, 2017
Currently Bay Area’s naatak company is presenting its 59th production at Cubberley Theater in Palo Alto. This production is naatak’s annual “mela”, a sort of theater fair. There are five short plays in five Indian languages; Marathi, Tamil, Gujarati, Bengali, Hindi and Improv comedy in Hinglish. English subtitles are projected for each short play above the stage. This is an absolutely beautiful way to showcase and enjoy India’s rich linguistic and cultural heritage. After a span of 21 years, naatak can proudly claim to have broughts 55 world class plays on stage. Over 850 performers have participated in these productions and 60,000+ attendees have enjoyed these shows.
पाचव्या मजल्यावरचा वेडा – The Mad Man On the Fifth Floor – Marathi
The script for Marathi play is written by Anil Sonar. It is produced by Adwait Joshi and brilliant direction is provided by Anannya Joshi. A madman precariously positioned on the ledge of a fifth floor window is being watched by the crowd below. Some have deep concern and others don’t want to miss the excitement and yet some others are waiting with anticipation to the gruesome climax of the show with the madman jumping to his death. But what is this man up there? What is his story?
লোকে কি বলবে? – What will people say – Bengali
Directed by Sudipta Chatterjee and produced by Deepika Sriraman, and based on “He Said, She Said” by Alice Gerstenberg, this Bengali play is translated and adapted by Sudipta Chatterjee and Harish Agastya. This short play focuses on the favorite Indian pass time, “gossip”. Casting is beautiful. A woman shares some juicy gossip about a romantic dalliance involving some friends. So interesting is a role played by gossip specially of romantic nature, in Indian culture, that targets of such gossip are often compromised and vilified so strongly that they can’t just let it go but instead feel compelled to justify, defend and give excuses. Will the gossipy woman have finally met her match in the strong woman targeted by the gossip?
Naatak Improv – Hinglish
Naatak organization has matured so phenomenally that it can boldly brag to present improv comedy that is spontaneous and creative. In this short segment directed by Neha Goyal and Abhay Paranjape, a brilliant cast of characters perform improv games based on audience suggestions.
காஞ்சியின் துயரம் – A Tragedy in Kanchi – Tamil
Based on “A Florentine Tragedy”, a never completed play by Oscar Wilde, this play is set in 1930s during the Chola period, whereby a silk merchant confronts his beautiful wife and her royal lover. Will the play have an ending that befits the crime? Tamil speaking audience members are likely to greatly enjoy Kalapathy Sundaram’s brilliant translation. The projected English subtitles give some clue but it is hard to fully enjoy Wildesque witticisms in fast projected subtitles. Directed by Soumya Agastya and produced by Archana Kamath, this short play could well be Tamil speaking literature lovers’ treat.
खिड़की – The Window – Hindi
Based on “The Open Window” by Saki (H H Munro) and adapted for the stage by Mugdha Kulkarni, is also directed by Mugdha Kulkarni and produced by Chaitanya Godsay. This is a mystery about a missing husband, where an open living room window comes to play a significant role. The fear experienced by a young visitor is palpable and imaginative description of the lost man gives no clue to his disappearance until…………. Well, you’ll have to see it.
સાંભળ, તું બહાર જાય છે? – Everyone loves an errand boy – Gujarati
Based on Saadat Hasan Manto’s play, “Aao baat suno” this short play is adapted by Paresh Vyas and Vikas Dhurka and is directed by Natraj Kumar and produced by Devika Ashok. A lazy Sunday is transformed gradually into a comedy of errors, err…. into a comedy of errands. O M G — it is hilarious and also features the best dialogue, “Et tu brute” errr…. “Et tu Rajesh”.
For tickets to Naatak’s 59th Mela production, go to www.naatak.com .But hurry. There are only 2 more shows and tickets are selling out fast.
Every year Ashland, Oregon holds Oregon Shakespeare Festival (OSF) that lasts from mid-February to early November. It is an incredible experience for theater lovers. I visit every year with several friends in my book club. There are three stages in close proximity and eleven plays are produced during any given theater season. These are not only Shakespeare plays. In fact, this year, we did not watch any original Shakespeare play. My friends and I watched 4 plays in 4 days we spent there. In addition to several plays going on simultaneously, the little town also has music festivals, bands, choir, other outdoor events, salsa dancing, poetry readings and more. Small town is beautiful with tons of unique shopping opportunities and incredible eateries with some of them offering seating by the riverside.
We drove from the Bay Area and spent a night at half-way point on easy 10 hour drive there. Next day we reached there early and saw one play at night and saw two more on the second day and then on the last day there we saw one play, and then started on our return journey. So we had a beautiful all girls road trip to and from the festival.
Here are the four plays we saw.
Homer’s Odyssey is a timeless classic but it is complex and it’s not always easy to keep the characters in mind. We attended pre-theater reading when we got a quick synopsis of the story. The play performed at open-air Allen Elizabethan Theatre was a treat of pomp and circumstance. After a decade long war, after the defeat of the Trojans by the Greeks, all surviving fighters reached home, but not Odysseus (Christopher Donahue). Odysseus languishes on a faraway island, refuses offers of love from Calypso, battles angry Poseidon’s fury, and after 20 years reunites with his wife Penelope (Kate Hurster), who was battling suitors during his absence.. This story of Odysseus known as a “story of that man skilled in all ways of contending”, according to Bill Moyers, “changes the way we see our world and ourselves”. Kudos to Scenic Designer, Daniel Ostling and Costume Designer, Mara Bluemenfeld for incredible scenes and costumes.
Shakespeare in Love
There can’t be moviegoers who were not enthralled by the film, Shakespeare in Love. Beautiful story of young and innocent and yet deep and binding love written as a love letter to theater and theater people encompassed several contradictions beautifully. Along with cheap puns, there were Shakespearean dialogues. What’s not to love when you hear “My bounty is as boundless as the sea,. My love as deep. The more I give to thee,. The more I have, for both are infinite“? Then there was sexist politics of the time juxtaposed against the most powerful monarch in Tudor history. William DeMeritt as Shakespeare is amazing. Director, Christopher Liam Moore did an excellent job, beginning with exploration of how an artist’s mind may work when creating a brilliant work of art.
Developed and directed by Robert O’Hara, Unison brings the story and life of poet August Wilson and his poetry to stage, in a unique way. August Wilson’s work depicts comic and tragic aspects of African-American experience and has inspired a huge group of poets. When meeting at his funeral, through the stories they share, a sense of reverence they have for August Wilson, reverberates on the stage.
At times the poetry is glorious
“You know you love me, I know you care Just shout whenever, and I’ll be there You are my love, you are my heart And we would never ever ever be apart Are we an item?”
At times the poetry is frightening
“Red blood in the river, there’ll be red blood in the river”.
Off the Rails
Adapted from the work of playwright Randy Reinholz, Off the Rails tells the story of native Americans in the 19th and early 20th centuries. Such a story would be too tragic. But instead director Bill Rauch has adapted the story as a musical and infused it with romance and humor, while also depicting the indigenous resiliency among native Americans, in the face of attempted genocide. The story is also interspersed with Shakespearean quotes like “it is excellent to have a giant’s strength but it is tyrannous to use it like a giant”. This was an excellent and heart rending play that makes one break out in laughter from time to time and yet leaves you with deep sadness.
“We are the four immigrants” thus begins entirely engaging and ravishingly gorgeous musical, at Theatreworks Silicon Valley premiere, at Palo Alto’s Lucie Stern Theatre. Playwright and composer, Min Kahng adapted the theatrical production from a comic book by Henry Kiyama and tells the story of new immigrants from Japan from 52 comic strips, beginning in 1904.
Unlike the European immigrants who landed on the East coast, often fleeing religious persecution, the immigrants from Asia came for new opportunities and to realize the American dream “I’ll break the mold and make my mark”. While the immigrants from Europe encountered discrimination along the lines of poverty, new immigrants from Asia also had to deal with racial prejudice.
This musical tells a universal tale of people leaving their homeland for any number of reasons and then search to find a life and make a home in the new land. The musical speaks of such adventures of four men, Charlie (Hansel Tan), Fred (Sean Fenton), Frank (Phil Wong), and Henry (James Seol). These are four incredibly talented actors who deliver a stunning performance of riveting dances and engaging lyrics as they talk about their experiences; weaving in significant historical events like devastating San Francisco earthquake, US Government call to join the military in world war II, racial bias and Government denial to grant citizenship, even to war veterans. These men also have obligations back home and from time to time experience the guilt and shame of not rising up to expectations; for instance, when they fail to send money home in a timely manner. Search for a life partner often raises questions about areas where immigrants are tied to known customs and traditions and where these collude in their simultaneous quest to embrace the modern ways of new homeland.
Gradually, these young men in Henry Kiyama’s comic strip mature and make a life in their new homeland. They each in their own way, embraces and blends the old and the new. Whilst they began with sweeping floors and making sacrifices, they learn that not only they can enjoy the fruits of their hard work but their new homeland requires them to be engaged members in the community; standing up for and demanding their rights. They sing with satisfaction, “I know I have something remarkable to share with the world”. We also learn that motherland is never forgotten, as we hear them sing with longing, “Kurusato”.
Great kudos to Leslie Martinson for brilliant directing and casting. Four male actors are joined by Rinabeth Apostol, Kerry K Carnahan, Catherine Gloria and Lindsay Hirata who play a variety of male and female roles with aplomb. Also great kudos for superb use of props and stage to Marcy Victoria Reed and Christina Larson.
As the founding director of Theatreworks, Robert Kelley has announced his retirement after 50 years of dedicated stewardship, we must acknowledge the incredibly bold and perception changing performances that have been brought to stage under his helm. Such an incredibly warm influence to counter the current cold reality of increasingly anti-global, anti-immigrant, anti-environment, anti-diversity vibes coming from Washington D.C. True to Theatreworks’ core values, these phenomenal productions are not only fabulously entertaining, they also gently guide us to learn and be better informed, to embrace diversity and to shift our point of view to one that is more global and more inclusive.
For this theater season, I am selecting, “The Four Immigrants” running at www.theatreworks.org till August 6, 2017 a must-watch-play of this theater season. In true spirit of Silicon Valley where the production took shape, it is extremely innovative, highly entertaining, solidly engaging and brilliantly done.
Posted by Darshana V. Nadkarni, Ph.D. in Hindi - Bollywood Movie Reviews-- Play Reviews-- NAATAK-- Poems-- Event Reports, Play Reviews on July 11, 2017
Toba Tek Singh is yet another example of NAATAK company’s efforts to bring bold and audacious plays in Indian languages or with Indian theme, on stage. Very special credits for this amazing production go to brilliant director Sujit Saraf who adapted the original story for stage, to brilliant producer who wears multiple hats, Soumya Agastya and to brilliant music director, Nachiketa Yakkundi. Based off of the original story written by Saadat Hasan Manto, Toba Tek Singh focuses on exchange of inmates in a Lahore asylum, after the partition of India and Pakistan in 1947. The ensuing conflict between India and Pakistan displaced nearly 15 million people and nearly 1 million people died during the migration, leaving behind a bloody legacy. The story of Toba Tek Singh is not only a powerful satire on the events that transpired in the aftermath of the violent division but when observed through the eyes of a madman, one can’t help but feel that he was the only sane person questioning the ridiculousness of the entire situation, in a sea of complete and utter lunacy.
Performed with live music and phenomenal dances by women in colorful costumes, the lunacy of the bloody events feels even more stark. Toba Tek Singh is the largest production in Naatak’s 22 year history. It is amazing and delightful to see the huge entire cast perform their roles flawlessly. But it is the live musicians, under the leadership of Yakkundi and amazing dancers under the leadership of choreographers, Shaira Bhan and Snigdha Singh that this special story was transformed into a grand musical.
When the British left India divided and splintered, clear borders were not announced until after the division, throwing millions of people into chaos and confusion. In an immediate aftermath, there began one of the greatest migrations in human history, as millions of Hindus and Sikhs began the trek towards India and millions of Muslims in the opposite direction towards Pakistan in the West and East. While millions and millions were displaced and left homeless, nearly a million never made it as people were massacred during migration, some were abducted and many were raped, forced into sexual slavery, and left disfigured and dismembered. But lunetics housed in the mental asylums were safe from this madness.
The story of Toba Tek Singh begins in 1948, a year after the partition, when the governments of India and Pakistan decide that the lunatics living in the mental asylums must also be exchanged so that Muslim lunatics in India may be sent to Pakistan, while Hindu and Sikh lunatics in Pakistan may be sent to India. One of the lunatics is a Sikh inmate named Bishan Singh who is to be sent under police escort to India from Lahore. Bishan Singh wants to remain in a country where his home village Toba Tek Singh remains and he asks several people where Toba Tek Singh is. He is alternately told it is in India and then told it is in Pakistan. When he finally believes that his hometown Toba Tek Singh will be part of the new Pakistan, he refuses to go to India and lies down right in the middle, in the no man’s land.
When you watch the play, you somehow feel that Bishan Singh is the only man true to his feelings, unlike Naidu or Jinnah or Gandhi or Nehru or Mountbatten or Edwina or Godse who are all caught up in their own self serving versions and visions of the event. Each one of the other characters use multiple tactics and strategies, plot and craft to manipulate and maneuver the events to fit their vision. Bishan Singh simply wants to live in a place he has known as home because home is where the heart is and to get uprooted from homeland is like getting your heart ripped out.
Toba Tek Singh will be running in Woodside, CA till July 29, 2017. Get your tickets at www.naatak.com .
Musical comedy “The Toxic Avenger” based on Lloyd Kaufman’s film of the same name, originally derived from book and lyrics by Joe DiPietro and music and lyrics by David Bryan, is currently playing at The stage (www.thestage.org) in San Jose. It is a silly show tackling a serious subject and features a talented cast that performs zillion roles. Addressing the issue of climate change, the show shies away from becoming preachy or depressing. It begins with the lyrics
Global warming’s up ahead
The experts think we’ll all be dead
But they don’t know we’re here to fight
It is a story of heavily polluted New Jersey town where Melvin Ferd III (Will Springhorn Jr.) resolves to get to the bottom of the cause of pollution and is pitted against town’s greedy, power-hungry and seductive mayor Babs (Allison F. Rich) and her gang of thugs. The mayor’s for-profit corporation is the cause of town’s growing pollution but the mayor is entirely focused on growing her bottom line.
Here’s a place between heaven and hell
Don’t need a map, just follow the smell
A place filled with filthy air
A place full of dark despair
A place you have no prayer
A place called New Jersey
Jersey, the Garden State
Ther’s an exit called the thirteen gee
Right off the turnpike where it smells just like pee
An exit no one dares get off:
An exit where the children cough
When the mayor’s thugs and Melvin engage in a fight, Melvin falls into a vat of toxic waste and emerges as a heroic green monster with superior strength. Melvin’s nagging mother (also played by talented Allison F. Rich) does not the express slightest shock and instead reiterates her disappointment with her son. Her lack of shock at the sight of her son is shocking in itself and at the same time her superb acting makes it feel like a natural response of a nagging mother to a child not rising up to his talents. It is all hilarious. Melvin also reconnects with his blind love interest, Sarah (Courtney Hatcher). Sarah does not know that it is Melvin and falls hopelessly in love with who she believes is the superhero who saved her from the town’s thugs.
He’s strong and sweet and lives with his mother,
He saved my life so there is no other.
Such a man and man is he macho
Spicy cool like a bowl of gaspacho
Someday he’s ganna be my big, my big french boyfriend!
But Sarah soon gets an opportunity to touch Melvin’s ugly and scarred face and her love abets with the same speed as it had begun to overflow. When scorned by his sweetheart, broken hearted and depressed Melvin goes from being a town hero and a legend to a town pariah. However, Sarah soon changes her mind after she gets a talking-to by Melvin’s mother who explains “If blind people don’t like ugly people, than who will” and she and Sarah’s friends make a practical point that – after all
All men are freaks
It’s a burden every woman shares as she travels down life’s roads
Superbly directed by Jonathan Rhys Williams, the play is hilariously funny and witty. Cirby Hatano’s set is eye catching wasteland with scattered drums of toxic waste. Video design by Vijay M. Rajan occasionally fills the gap in the narrative and adds fantastically funny comic touches. When the fight ensues between the hero and the thugs, blood is scattered or limbs are severed on the projected screen rather than on the set. The 80s style rock style songs are played by an onstage rock band directed by Brian Allan Hobbs.
The Toxic Avenger is produced at San Jose Stage at a critical time in our history, when depressing developments on the issue of climate change makes us feel both upset and helpless. Toxic Avenger is just the hero we need to transport us for a short while, to a place where we are not entirely helpless, and our righteous commitment enables us to find love and perfect solution for the cause of climate change. The Toxic Avenger will be playing at the Stage in San Jose until July 16, 2017 and tickets are available at www.thestage.org .
Set on an army base in Afghanistan in 2016, “The Memory Stick” by Irish playwright Donal O’Kelly, tackles some serious issues of right and wrong and moral obligation of soldiers when they see something unethical. The Memory Stick is a world premiere co-production between The Stage www.sanjosestage.org and the Arts Office of Dublin City Council, Ireland.
Two Native American soldiers Seth Shaw (John R. Lewis) and Jack Black Horse (Joseph Valdez), occasionally joined by Bridget (Lindsy Kail), begin a makeshift lodge while on an army base in Afghanistan. Each of them relive their earlier memories and share ruminations that are deeply tied to their cultural identity. One of them has recorded some illegal data onto a memory stick about army’s unethical behavior and the discussion soon veers into the realm of morality and whether or not they should publish/leak this information. The discussion weaves in many threads including systematic oppression of the Native Americans and events surrounding Wounded Knee as well as oppression of the Irish people and uprisings in Ireland. There is also a segment on Bradley/ Chelsea Manning that portrays Manning as a lonely hero.
This is an ambitious and bold play oddly reminiscent of Dostoevsky’s Crime and Punishment and takes the audience into deep recesses of morality and ethics. Is the true mantra for soldiers, “theirs not to reason why, theirs but to do and die” or as soldiers in the bigger journey of life, do we all bear responsibility to question the wrong when we see it, that every person can, as Bridget quotes from James Connolly, do “his duty according to his lights”? This play is about human soul and whistle blowers and how it puts someone concerned with doing the right thing sometimes in an incredibly lonely spot. Indeed the play tackles too much and leaves the audience a bit rattled as well as unsettled. It is heavy on dialog and while that can put you to sleep at times, yet under the chaos of multiple issues are larger questions about life and morality that are guaranteed to keep you awake at night. Irish and the Welsh dialect is enjoyable and staging by Tony Kelly is sparse but perfect.
For tickets, please go to www.thestage.org .
Posted by Darshana V. Nadkarni, Ph.D. in Hindi - Bollywood Movie Reviews-- Play Reviews-- NAATAK-- Poems-- Event Reports, Play Reviews on April 13, 2017
Stories of India inextricably linked with that of its neighbors, the collective that makes South Asia, have always been fascinating and generate universal interest. En Acte Arts company founded by Vinita Sud Belani focuses on bringing these fascinating tales on stage, with multi ethnic cast and crew. Their recent production, Soundwaves: The passion of Noor Inayat Khan told the story of Noor who was born from a union of Indian father and American mother, in January, 1914.
EnActe Arts has grown in stature and influence in the bay area. This was a bold production of telling an inspirational story with many twists and turns. The play featured a large cast and EnActe did a fabulous job. I will be watching for future plays from this theater company. For tickets, go to www.enacte.org .
Playwright Velina Hasu Houston’s “Calligraphy”, currently running at www.theatreworks.org at Lucie Stern Theater in Palo Alto, directed by Leslie Martinson, is a complex family drama that tests dynamic family bonds from multiple angles.
First, there are two cousins, one American, Hiromi (Mia Tagano), daughter of Japanese mother and African American WWII veteran, Eamon (William Thomas Hodgson) and the other, Sayuri (Elizabeth Pan) are dealing with challenges of caring for their respective aging mothers with physical problems ranging from limb fracture to Alzheimer’s to emotional issues like over-dependance. Second, intermingled with these challenges are cultural issues. Third, while traditional Japanese culture is steeped in family obligations, and generational rules of etiquette mired in feelings of guilt, there is also an overlay of younger generations growing up with vastly different and sometimes Western values. Hiromi is raised by Japanese mother Noriko (Emily Kuroda) in America, albeit with Japanese values, and considers it her filial duty to take care of her mother in old age. Meanwhile her cousin Sayuri is raised by her Japanese mother Natsuko (Jeanne Sakata) in Japan. Although Natsuko raises Sayuri with strict Japanese values, colored by external influences, Sayuri rebels and pursues Western attire as well as values of independence and freedom. And finally, these cultural influences collide in interesting ways with individual personalities and temperament of the colorful characters.
When the cousins Hiromi and Sayuri plan to arrange a family reunion of sorts and bring their mothers together after the distance of several years and different continents, the cultural, generational, relational, and personality collisons occur with a noticeable bang. The two elderly sisters have been bitterly estranged over Noriko’s romance with a black GI and they have not since reconciled. Noriko was a beautiful young woman, married the love of her life, raised a responsible daughter and now afflicted with beginnings of Alzheimer’s, she often imagines the presence of her late husband, Eamon, forgets her whereabouts, but often remembers critical details of her childhood. Meanwhile Natsuko is as intolerant of her wayward daughter’s choices regarding her filial duty, marriage, sex etc. as she was of her sister’s choice of marriage, years ago. And yet despite the intolerance and the drama, Natsuko too has a certain inner strength and a vision to live life on her own terms.
Within artful strokes of “Calligraphy”, these four beautiful women with their unique version of inner strength, stamp their own signature in their world, with bold strokes of personal choices. Calligraphy is not a play about A significant event but about high emotional stakes of ordinary living and these get amplified with beautiful acting by talented cast. I love Mia Tagano in all the diverse roles I have seen her perform. Kudos to Theatreworks Artistic Director, Robert Kelley for enabling ordinary life issues to take the form of art. Calligraphy will be running till March 29, 2017. For tickets, go to www.theatreworks.org .