WORLD PREMIERE OF DAVID HENRY HWANG’S “SOFT POWER” A TRIUMPH AT LA’S AHMANSON THEATRE

Conrad Ricamora, Austin Ku, Francis Jue, Raymond J. Lee in "Soft Power" a new musical by David Henry Hwang

and Jeanine Tesori at the Center Theatre Group/Ahmanson Theater. All photos by Craig Schwartz

The American Theatre is in a state of flux and has been since the millennium arrived. Satisfaction is the enemy of innovation, growth, and thinking outside the box. America for all its creativity, eagerness for new shiny objects and ideas, however, is quite comfortable in its various creative arts ruts.

According to German writer and dramatist Bertolt Brecht, “The role of the arts should not be limited to just holding up a mirror to society, but be a hammer with which to shape it”. Controversial? Yes. Today’s playwrights and writers are churning out creative work that your fathers and grandfathers would not necessarily approve. This is the internet/digital age. Communications and information comes to the creative table quickly and changes just as quickly. One has to be constantly plugged in to be relevant.

Playwright David Henry Hwang’s newest musical play “Soft Power”, now enjoying its world premiere on the stage of The Ahmanson Theatre, Los Angeles, is an excellent example of readdressing the domination of White culture of the West to the rising prominence and influence of Asian societies along the ‘silk roads’ of the East. Hwang is a prolific American-born playwright of Chinese ethnicity.

Trying to explain the two act plot of Hwang’s brilliant comedic and insightful, think-piece is complicated but not inscrutable. It’s a little akin to Winston Churchill’s famous quote of trying to untangle the philosophy and the politics of the Russian government to a fellow politician. “Russia is a riddle, wrapped in a mystery, inside an enigma. It’s complicated, but there is a key.” One ‘key’ is the collaboration of Jeanine Tesori and Mr. Hwang as co-creators, with Ms. Tesori’s wonderfully evocative musical score and additional lyrics that so beautifully captures the spirit of the East and then blends it with the culture of the West.

Conrad Ricamora and Kendyl Ito in "Soft Power"

Playwright Hwang, who penned the Tony-winning production “M. Butterfly” (1988) and Drama Desk nominated “Yellow Face” (2007) and the delightful comedy “Chinglish” (2011), among others, challenges his audience to confront and accept the idea that the planet has more than one alpha-male dominating culture and society. In many ways, the musical goes against a self-image that most Americans hold dear: rugged individualism and American exceptionalism.

“Soft Power” is a deliciously directed musical by Leigh Silverman, who infuses her mainly Asian cast with high energy performances, especially from the ensemble performers. For those who follow Mr. Hwang’s career arc, they will note the echoes in this stellar production reminiscent of his delightful 2011 comedy “Chinglish”. That story featured a love affair between an American business executive and a female Chinese government official while he was on a business trip in China. Ms. Silverman directed “Chinglish”, as well.

Conrad Ricamore and the Ensemble in "Soft Power"

Both plays explore the language and cultural gaps between Chinese and Americans; a frequent theme in Mr. Hwang’s body of work, however, this time the romantic algorithmic connection deals with Zoe, an American woman (Alyse Alan Louis) and a Chinese gentleman (Conrad Ricamora), both of whom are the possessors of wonderful singing voices. Ms. Louis belts with high energy in in Act One leading the ensemble in a series of hilarious musical numbers that allude to America’s current political machinations and explanations without ever referring directly to the current inhabitant in charge. The name is self-evident based on the hoops and hollers, and the laughter emanating from the audience. Remember, it’s a musical comedy – depending, however, on one’s political leaning.

Conrad Ricamora and Alyse Alan Louis play
unlikely lovers in "Soft Power"

Conrad Ricamora as Xue Xing, reflects not only his personal philosophy, but that of China’s aspiring new role in global politics. In the play, they eschew raw military or hard power, preferring the label of practitioners of ‘soft power’. They prefer to influence world opinions with trade, political ideas, and peaceful non-military solutions as a way of becoming the new world leader. Mr. Ricamora , renders a terrifically polished, stylish, understated performance, as the avatar of Chinese ambitions in the future.

Conrad Ricamora and Francis Jue

There is a third major character in this highly entertaining production: None other than that of David Henry Hwang himself. The actor who portrays Mr. Hwang on stage is Francis Jue who delivers a solid, empathetic, portrayal as the quasi-narrator of the musical. I would humbly submit that perhaps, Mr. Hwang is a fan of the great movie director Alfred Hitchcock, who always inserted an image of himself as character into every film he made. However, it’s not that unusual in Mr. Hwang’s case. He was a character in his 2007 play “Yellow Face”, playing himself.

Alyse Alan Louis as Hillary Clinton in "Soft Power"

In Act Two, the stage heats up again with the performance of Ms. Louis. This time she’s playing Hillary Clinton. Yes, that Hillary Clinton! It’s a dynamite performance by a consummate singer/ actor/ dancer at the top her game. No more spoiler alerts from me, but remember it is a political comedy/parody production and should be experienced in person. Director Silverman gives her skilled cast the green light to go full speed ahead, which they do in spades. The standing ovation at the curtain call lasted for over a minute. I checked my watch. It was richly deserved.

On the reality check aspect of the overall production, I would submit that the political comedy lacked subtlety at times, and had a tendency to hit one over the head with a hammer, making sure we got the bit and the metaphor. It may be a bit sophisticated or too on-the-nosey for some, but the audience on opening night definitely got it.

The Ahmanson Theatre is the proper sized house and stage that gives Scenic Designer David Zinn plenty of leeway in delivering a performing space for this excellent production to breathe. Supporting cast members include: Billy Bustamonte; Jon Hoche, Kendyl Ito; Austin Ku; Raymond J. Lee; Jaygee Macapugay; Daniel May; Paul Heesang Miller; Kristen Faith Oei; Maria-Christina Oliveras; and Geena Quintos. Well done all.

Jon Hoche and the Ensemble in "Soft Power"

In the technical department led by director Silverman whose impeccable timing throughout the evening keeps the audience riveted and fully engaged. The costume designs of Anita Yavich, and the lighting design by Mark Barton flood the Ahmanson stage with color and light becoming a visual feast for the eyes and the ears, along with the Sound Design of Kai Harada. The high-octane choreography of Sam Pinkleton keeps everyone on their toes under the musical baton of Music Supervisor Chris Fenwick.

‘Soft Power” makes for a splendid evening of music, dance, and comedy at the Ahmanson Theatre and runs through June 10, 2018.

PALM CANYON THEATRE REVIVAL OF THE MUSICAL “GYPSY” IS A GLITTERING TRIUMPH

Elizabeth Schmelling as Louise, Elissa Landi as Tessie Tura and
Jaci Davis as "Mama" Rose in "Gypsy" at Palm Canyon Theatre.
All Photos by Paul Hayashi

The American musical has gone through many iterations, and changes in structure and content over the last one hundred years.

In the 1940’s the American musical created a unique American art form – known as the ‘book musical’ which combined the acting, singing, and a narrative storyline resulting in a blended, linear, modern, vernacular, script and a presentation style that had reigned supreme for almost 75 years. When “Oklahoma”, the first book musical burst on the stage, it blew everyone away with the new performing style that we still see today… until “Hamilton”, that is.  But that’s another review for another day.

In 1959 the creative and most successful musical writing team of Rodgers and Hammerstein we’re gathering the best of Broadway writers, directors, choreographers, to produce a musical about the early days of show business on Broadway and the various touring “road show” companies that were then in vogue.

Initially, no one wanted to sign on to a new show called “Gypsy: A Musical Fable”.  Ultimately, the musical did come together under the music of Jule Styne, the lyrics of Stephen Sondheim, and the libretto written by Arthur Laurents going on to have six different revivals of touring companies worldwide over the years. “Gypsy”, would win tons of Tony Awards, Drama Desk, Outer Critics Circle Awards, and Obies, and Academy Awards for the movie version.  The musical is now considered to be the gold standard when it comes to structure in creating the American musical play. It’s pure musical theatre at its best with songs that resonate with millions of audiences that are funny, poignant, uplifting, and flat-out entertaining.

The Palm Canyon Theatre (PCT) has a successful track record of presenting quality performances, colorful sets, gorgeous costumes, and talented singers and actors for over 20 years.  “Gypsy”, is directed and choreographed by Derik Shopinski, who brings his many theatrical skills to the production. Boasting a cast of 30 performers, Shopinski, who also costumed the production along with his team of costume magicians that include: Kathryn Ferguson, Virginia Sulick, and Char Childs, and an army of seamstresses that fill the stage with colorful and glittering costumes that are a visual feast for the eyes.

The story of Gypsy Rose Lee, one of the country’s most famous striptease artists, is loosely based on Ms. Lee’s 1957 memoirs and on focuses on Gypsy’s quintessential Show Biz stage mother Mama Rose Hovick played by a sensational Jaci Davis, in a tour de force star turn.  Rose is determined to raise her two daughters June (Allegra Angelo) and Louise (Elizabeth Schmelling) to become performers on the road trip vaudeville circuits and then to Broadway. She lives vicariously in show business through June and Louise.

One day, while attending auditions for a local comic who is looking for kid acts to join his troupe, Rose meets salesman Herbie (Tom Warrick).  Herbie is intrigued by Rose’s energy and force nature personality.  Rose quickly recruits him into becoming the Act’s manager. From this point we follow the kids through songs and skits during their growing years; even into their late teens.  Regardless, the act always performs the same – as kid performers despite their obvious older ages. 

To borrow the song lyric from “Damn Yankees” “Whatever Lola wants, Lola gets”; applies to the demands of Mama Rose when it comes to June and Louise and the Act, making Herbie’s job as Manager, all the more difficult when trying to book a kid’s show performed by teenagers.

In Act Two, June has eloped with Tulsa (Mat Tucker), (a male dancer from the act), leaving Rose devastated and heartbroken.  June, as the baby in the act, was always Rose’s favorite. Now she must figure out their next move. In the meantime, Herbie, inadvertently books the act into a Burlesque house, setting off Rose and putting Herbie and Rose at odds on what to do about the act and about their own future plans as a married couple.

Louise settles the issue by declaring that she will honor the booking and go on stage herself.  After much discussion Rose agrees to allow Louise to perform… but with no stripping. “Remember, you’re a lady dancing on a stage.”  This launches the career of Gypsy Rose Lee who goes on to stardom at Minsky’s on Broadway in New York City, becoming a star and a celebrity in the process.

The real beauty of this stellar production lies in the performances of the entire cast. But the heavy lifting by the principal performers gives this splendid production an extra boost and it’s exciting to watch.  Jaci Davis as Rose brings down the house in the terrific musical number called “Rose’s Turn”.  It’s an explosive, high octane performance riff on driving out Rose’s jealousy demons and her life’s disappointments.

Louise, now known as Gypsy Rose Lee, is brilliantly portrayed by Elizabeth Schmelling.   From shy, introverted Louise, Ms. Schmelling turns Gypsy into an icon of American show business.  Her stage chemistry with Rose and her sister Baby June is palpable.  June, vivaciously played by Allegra Angelo, shines in the musical numbers when June and Louise talk about the day Rose and Herbie tie the knot, in a sweetly sung, two-part harmony number called “If Mama Was Married”. There’s a lot of good work taking place on the PCT stage in this production.

There are so many wonderful songs and numbers that it’s impossible to leave the theatre without humming, at least some of the 17 terrific songs, most of which became platinum in the 60’s  Tom Warrick as Herbie, one of the Valley’s finest character actors, delivers a solid, sympathetic performance as the love interest of Rose.  With a cast of 30 performers it’s difficult to list everyone, but there always standouts, and they include:  The Specialty Act of strippers consisting of Morgana Corelli as Mezzepa, Elissa Landi as Tessie Tura, and Denise Carey as Electra. Mat Tucker as dancer Tulsa, Alan Berry as theatre cigar smoking producer Weber, Natalia Fernandez as loyal Agnes, Frank Catale as Uncle Jocko.

If not a first, then it’s a rarely seen on stage performance by Palm Canyon Theatre Founding Director, Dr. William Layne as Pop, Rose’s father.  Special kudos also go the youngsters who portray the kid actors. They help in making the audience harken back to their own childhood experiences in school plays when some were first bitten by the acting bug.  “Gypsy” is a show that resonates with everyone on some level.

The musical accompaniment is under the baton of Musical Director and pianist Steven Smith, with Larry Holloway on Bass, and David Bronson on Drums.  The Set Design and Lighting Designers J.W. Layne and Kay Van Zandt provide the right amount of mood lighting that does justice to the wonderful costumes of director Shopinski and his staff.

“Gypsy: A Musical Fable” performs at the Palm Canyon Theatre and runs through May 20, 2018.  Don’t Miss It!.

-- Jack Lyons

CROSSWORD PUZZLE FANS WILL ENJOY CV REP’S LATEST COMEDY 2 ACROSS

Joel Bryant and Andrea Gwynnel in CV Rep's "2 Across"

The impact that crossword puzzles play around the world obviously is unknown, despite the fact that millions indulge themselves every day solving or at least, trying to solve these literary challenges known as the ‘war of the words’.
What is known, however, is the role that one particular New York Times puzzle plays, in the current CV REP stage production, “2 Across” in Rancho Mirage. This delightful comedy of words and puzzles, and conversation, written by prolific comedy TV writer/producer Jerry Mayer, is seamlessly and creatively directed by Deborah Harmon.

Audiences can always rely on the technical/creative team credits at CV REP as being first rate. Theatrical productions often win over the hearts and minds of their patrons when they walk into the auditorium. CV REP is blessed with the creativity and artistry of its resident Set Designer and Emmy Award winner Jimmy Cuomo, who never fails to impress his audience. In “2 Across”, two stars perform their magic on a BART train set that feels so visually real, that we’re ready to exit when we hear our station being called by the car’s recorded conductor’s voice. Now, that’s an almost virtual reality experience.

The story hook, in short, that brings two strangers aboard a San Francisco BART train at 4:30 AM is a pesky NY Times crossword puzzle, and how each reacts to it and their personal situations.  They’re alone in the car, each is married, and both are silently challenging the crossword author. When Josh (a terrific Joel Bryant), tosses his puzzle away in frustration.  Janet (a lovely and prim Andrea Gwynnel) snaps, “Crosswords are a metaphor for life, those who finish, succeed; those who don’t, fail.”  Thus, setting up a witty, hilarious ‘He said. She said.’ dialogue and at times, delivering many poignant moments of personal revelations, by Josh and Janet in the bargain.

Although the play is performed without an intermission, running about 85 minutes, we’re quickly drawn into the play’s narrative thanks to the wonderful on-stage chemistry of Mr. Bryant and Ms. Gwynnel.   As many airline travelers can attest, when traveling alone, seatmates frequently get chatty, especially on non-stop, coast to coast flights.  English travelers are amazed at how most Americans when traveling reveal so many bits of information about themselves to strangers.  The American rationale is: it’s such a huge country and the odds of ever seeing one other again is highly remote. So what’s the risk?

Joel Bryant and Andrea Gwynnel in CV Rep's "2 Across"

The dialogue between Janet and Josh says a lot about our civic discourse, social mores, our working lives, and our frustrations in dealing with our families and friends.  Janet, is sharp-tongued because she’s dealing with a ‘flight from the nest’ syndrome.  Her young 18-year old son has just enlisted in the Marine Corps, and is now on his on his way to Parris Island boot camp. She feels that her world is falling apart.

Josh, an outgoing, social guy now begins to ease Janet’s anxiety by acting as a volunteer advisor.  It’s his way of paying life’s benefits forward.  He left his family’s button factory business seeking new and exciting opportunities.  Although, he’s currently between jobs, Josh is always upbeat; but no more spoiler alerts from me.  You will just have to see for yourself how Mr. Bryant and Ms. Gwynnel, in highly nuanced performances, resolve their character’s situations.  A great deal of the success of this entertaining comedy rests with director Harmon whose light touch brings out the best in her two stars.  Their comedy timing is impeccable and a joy to watch.

Helping to make the stage magic we see on Designer Cuomo’s set, is a pitch-perfect lighting design by technical manager Moira Wilkie Whitaker that allows the audience to appreciate the costumes designed by Julie Onken; with Hair and Makeup designs by Lynda Shaeps, along with an excellent spot-on sound design by Kate Fechtig.  Louise Ross stage manages.

“2 Across”, performs at CV REP theatre in Rancho Mirage and runs through May 20, 2018.  Don’t Miss It!