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 July 15, 2018
Director Savitha Samu exceeded all expectations in direction of psychological thriller Rashomon in NAATAK.org production. The story centers around human tendency to embellish the transpired events where facts take on different hues in each narrator’s mind.
Originally, Rashomon was written as a short story by Akutagawa. In 1950, it came out as a film, directed by renowned Japanese film director Akira Kurosawa. It won several awards and is considered among the greatest films ever made and brought Japanese cinema on world stage. Incredibly challenging to produce live on stage, Naatak’s superb cast did a fabulous job. The story centers around various characters narrating harrowing incident that involves a murder. Set in Mumbai, everyone involved, directly or indirectly, offers an account of the events that transpired on that fateful stormy day.
Each and every single member of the cast including Rohit Dube, Kukund Marathe, Natraj Kumar, Vineet Mishra, Maunic Dharia, Ranjita Chakravary, and those playing as shadows and dhol players did complete justice to their challenging roles. But truly memorable were Ekta Brahmkshatri and Rajiv Nema in some of the most challenging roles I have ever seen on Naatak’s stage.
This story speaks to amazing capabilities of human mind that four different people offer detailed descriptive report of what transpired. Each narrator embellishes the report from their perspective, providing subjective, alternative, self-serving and often contradictory versions of the same incident, that renders their version unique and unlike any other. Five contrasting accounts of the same murder by five different individuals is enough to shake up from the core, anyone’s faith in pure and unadulterated truth with all its rawness and holds deep and profound implications for credibility of eyewitness accounts, role of perceptions and biases, and basic human right of justice for all. (see my book review on “American Marriage http://bit.ly/2Kzewz1 ). Tickets for Naatak shows are available at www.naatak.org and don’t forget to get a season pass to enjoy the shows at discounted price.
The Siegel by Michael Mitnick, directed by Mark Anderson Phillips is a beautiful romantic comedy, with the title poking fun at the Chechov classic, “The Seagull”. Ehan Siegal (Ben Euphrat) is in love with Alice (Ella Dershowitz) and though Alice and Ethan have broken up about two years ago, as the play opens, Ethan is with Alice’s parents, Ron (Erik Gandolfi) and Deborah (Luisa Sermol) asking them for Alice’s hand in marriage.
Ethan is on a mission to convince everyone who would be willing to get a dinner or down a few drinks that he deserves a second chance. Ethan tries to convince Alice’s mystified parents. “The point is, I will love you daughter as if she were my daughter”, says the aspiring groom. When Ron and Deborah remain unconvinced, Ethan manages to persuade Ron to have a beer with him where he reads the poem he has written for Alice.
Alice herself is not only determinedly against the entire idea but to complicate matters, she has recently moved in with her boyfriend, Nelson (David Morales). Ethan forces himself on their dinner date and Nelson is somewhat intrigued and amused by Alice’s ex boyfriend. But when Ethan manages to convince Alice to go on a dinner date, Nelson is no longer amused and he too shows up at her parents’ home to ask her hand in marriage. This prompts Alice’s bemused father to inquire, “well how many goats do you offer”?
If the goal is for Alice to be with the person who is a better match for her, then an equally pertinent question lingers in the air, “Do you think there is only one person out there for us”? For Alice, is that person Ethan or Nelson? This isn’t a play with a remarkable story. But it is a play with the most memorable, best cast of characters and each of them do do complete justice to their roles. Each one is just perfect or with just the right mix of quirkyness. “A cast is kind of a living, breathing organism”, says director Phillips and the result is this superbly funny play that leaves you in splits of laughter.
It would be amiss to not notice an underlying sadness, a gentle touch of melancholy underneath all the drama. Without dwelling on it too much, it leaves the audience with a whole host of nagging questions. “Do we settle sometimes in life, because it is the right thing to do in that moment or because it takes too much courage to change course, and how long a shadow will that cast on one’s future happiness?” A memorable gem is a quote from Alice’s mother to Alice, “the person who you enjoy being with, is the person you should be with”. This is not-to-miss play of this theater season and is running at Citylights Theater in San Jose. For tickets, go to www.cltc.org .
Posted by Darshana V. Nadkarni, Ph.D. in Hindi - Bollywood Movie Reviews-- Play Reviews-- NAATAK-- Poems-- Event Reports, Play Reviews on April 23, 2018
“How can we make user experience like flushing a toilet”, rhetorically questions Silicon Valley startup CEO, Mike Jordan (Barnaby Falls), in Anush Moorthy’s play “Unicorns”, a satire on modern era startups. It’s a perfect script to be presented without the elaborate set, costumes, or lights, to a small, intimate gathering of Silicon Valley audience. The play was performed on second stage at Mountain View Center for Performing Arts, by NAATAK company which has won for three years in a row in 2015, 2016, and 2017, the San Jose Mercury News Reader’s Choice Award, for “Best Live Theatre in Silicon Valley”.
Unicorns traces an engineer’s journey as he joins Oberherr, a high valuation startup. Paranoid Silicon Valley culture has made it imperative for Oberherr, to be extremely secretive regarding their products and offerings. In the absence of talking about their products, in order to get noticed before the big launch and the IPO, the company banks on heavy use of buzzwords. Mike often says, “at Oberherr, we imaginate, innovate, ideate”. Dressed in the style made fashionable among high achievers by Apple’s former boss, Steve Jobs, in black turtleneck and blue jeans, Mike insists, their engineers “create things from nothingness”.
The company has eliminated desks to enable free flow of thinking and interaction and employees are forbidden to talk about the company, outside its premises. And then there is a palpable omnipresence of the board (Havish Ravipati) keeping a tight focus on the impending IPO. All this paranoia and cutthroat mentality has created interesting dynamics at Oberherr. While Radhika (Tannistha Mukherjee) is highly territorial and least helpful to newbies, her accomplishments go unnoticed in supposedly “egalitarian” workplace, dominated by men. Ramanathan (Natraj Kumar) has learned to get noticed by sucking up to Mike, and Robin (Rohit Mukherjee) stays out of trouble by staying focused on his laptop. Sahil (Varghese Muthalaly) is fabulous in his role as a new engineer joining Oberherr whose fortune rises and tumbles at the blink of an eye. Sahil shares a healthy camaraderie with a fellow software engineer, Joyce (Aparna Warrier) but couldn’t explain even to his wife Priya (Preeti Bhat) about company’s products.
As seen from a few recent debacles, (one of the prominent one being Theranos) there are interesting shortcomings in the hyped up Silicon Valley startup culture. The focus on speed and short term gains, at the expense of long term vision and value-add of its offerings is often proportionately correlated with diminishing concern for people, true teamwork and quality of life. People become pawns in a system when stretching the truth isn’t just overlooked but sometimes admired, in quest for world domination and mad rush to IPOs. Unicorns by NAATAK is a fantastic spoof on the Silicon Valley startup culture. This is a not-to-miss play of this theater season in the bay area. Tickets may be available at www.naatak.com .
San Jose Stage Company premiered a new stage adaptation by Jon Jory of “Postman Always Rings Twice”, directed by Kenneth Kelleher, as a part of their 35th anniversary season. Adapted from 1934 novel by James M. Cain that was also made into a 1946 classic film with Lana Turner and John Garfield, this is a crime thriller with some twists and turns.
Since its first appearance in 1934, this story captured the minds and gained high popularity. Frank (Jonathan Rhys Williams) is not only morally bankrupt but is a hobo without a sense of purpose or ambition in life. He makes a pit stop at a rural California diner for a meal and is offered a job by Nick Papadakis (Robert Sicular), the Greek owner of the diner. Franks ends up staying and soon begins a passionate affair with Nick’s wife, Cora (Allison F. Rich).
Cora swoons to Frank’s rough and tumble approach to life but is unhappy with her inconvenient husband standing in the way. The first part in the play moves rather slowly and mostly focuses on Frank and Cora plotting to remove the inconvenience out of the way. In part two the story picks up speed as the duo attempts to put into practice their questionable motives and intentions. A murder plot is hatched but gets botched, elopement is planned and then abandoned, even the confession after a crime does not turn out as intended.
Apart from keeping the audience guessing, the play’s many twists and turns inevitably make one wonder (especially give the current monumental political reality), as to how much and how far can lies be stretched without consequences, and if not the law, then would fate catch up to it ultimately? The play is running at The Stage in San Jose till May 6, 2018 and tickets can be obtained at www.thestage.org .
“Skeleton Crew” by playwright Dominique Morisseau, currently playing at Lucie Stern Theater in Palo Alto is a joint venture between Mountain View’s TheatreWorks Center for Performing Arts and Mill Valley’s Marin Theatre Company. Directed by Jade King Carroll, the play is set in in 2008, in the break room of an auto manufacturing plant in Detroit. By then Detroit had already begun the deep slide into the recession and as the play opens we can sense palpable tension among the employees, surrounding the possible but yet unannounced plant closure.
We often hear about the statistics of a major economic downturn, for instance, between 2007 and 2009, Michigan lost over 30,000 auto jobs and lost over 700,000 of its population (due to move and other factors), and between 2003 and 2009, Michigan’s GDP shrunk dramatically and its private sector unemployment declined by over 13%. However, it is not often that we get to reflect on the massive human impact of such dramatic economic downturn, where ordinary people taking pride in their ordinary everyday jobs, experience homelessness, or consider walking around with guns for protection as crime spikes, or are walking around stressed out because of the impending uncertainty.
Leslie Martinson deserves great kudos for finest cast of characters, who all happen to be black, reflecting the reality on ground in Detroit.. Faye (Margo Hall) has worked at the plant for 29 years. She ignores her own troubles as she generously goes around fighting on behalf of her coworkers, even as she feels deep empathy for the plant manager. The plant manager Reggie (Lance Gardner) walks a fine line between towing the company line on behalf of the management, while feeling responsible for the impact of ongoing uncertainty on the lives of the employees, with many of whom he has strong bonds. Dez (Christian Thompson) is a volatile young man, suspicious of the motives of the management and afraid of the increase in crime in his neighborhood. Shanita (Tristan Cunningham) is a pregnant young mother who has a cutting sense of humor and takes enormous pride in “building something meaningful”. She just can’t afford to lose the benefits as her baby is due to arrive any day.
These are people whose lives will likely be wrecked and in the play, we get a window into just that short period when they are trying to ignore the stress of uncertainty, going about doing their jobs, arguing about who stole the food, jovially pulling each other’s legs and the impending chaos that will soon hurtle them from camaraderie and collegial support into homelessness, sleeping on the couch, and all the related impact of stress on their families.
The management can lessen the human impact by announcing the plant closure earlier to give people opportunities to plan. However, management has their own selfish motives to keep it a secret. The uncertainty erodes trust among the employees and between the employees and the plant manager; also leads to theft by someone presumed to be a disgruntled employee and there are rumors of someone bringing a gun to work. In the midst of all the chaos and uncertainty, people still manage to find strength to survive, to be there for one another, to speak up for each other and ultimately to sacrifice their own comfort and happiness for a colleague they cared for.
At its heart, this is a heart-rending human story that is lived again and again; made even more relevant during the current turbulent times when the gulf between the haves and the have-nots is not only widening but with total ignorance of the top tier to listen to their plight and offer real solutions, it is likely to widen even more, and there will likely be more people living through these tragic experiences. This is a not-to-miss play of this theater season in the bay area, and will be running till April 1, 2018 at Lucie Stern Theater in Palo Alto. Tickets will be available at www.theatreworks.org .
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.