Theater review: Kristina Wong, Sweatshop Overlord

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            Kristina Wong

The COVID pandemic of 2020 changed all our lives, probably forever. 

Kristina Wong, performance artist and playwright extraordinaire, was midway in the second show of a projected national tour when everything shut down. Talk about a wet-blanket event. 

Stuck in her Koreatown (Los Angeles) apartment watching the news, a friend texted her that hospitals were in need of masks. Since Wong makes her own set pieces and props for her shows, she put her sewing machine to work and made a mask, posting on Facebook that she was taking requests.

She didn’t foresee the number of requests she’d get, but she soon found herself looking for other women who sew and would be willing to make masks as well. She found lots of them, and decided to dub each an “Auntie.”

The result was what she called her “Auntie Sewing Squad” (ASS), and that experience is the topic of her current show “Kristina Wong, Sweatshop Overlord.”

Chay Yew directs the show, on a malleable scenic design by Junghyun Georgia Lee. Linda Cho’s costumes, Amith Chandrashker’s lighting and Mikhail Fiksel’s sound design and Cat Heyner’s projections complete the fine tech team.

Wong also reminds us of other awful things that have happened or gotten worse since the pandemic started, like George Floyd’s death. “Now they’re sewing for anti-racism,” she notes, and “the second wave of anti-Asian hate nearly broke me.”

On the other hand, we hear about RBG-themed masks, and that kids have been enlisted to make masks. And “I’m being studied by academics.”

She is also the the only Asian American woman to be nominated for a Pulitzer Prize for Drama.

Wong gives us a funny but serious evening of recent history, wondering, for example, why the U.S. launched a space shot rather than conquering COVID.

When the Aunties retire in 2021, Wong notes “We should be running FEMA and the CIA as well.”

Now there’s a thought.

And she leaves each audience member with a handmade mask.

The details

“Kristina Wong, Sweatshop Overlord” plays through Oct. 16 at La Jolla Playhouse’s Potiker Theater, 2910 La Jolla Village Drive, on the UCSD campus.

Shows Tuesday and Wednesday at 7:30 p.m.; Thursday and Friday at 8 p.m.; Saturday at 2 and 8 pm.; Sunday at 2 and 7 p.m. 

When: Opens Tuesday and runs through Oct. 16. 7:30 p.m. Tuesdays and Wednesdays. 8 p.m. Thursdays and Fridays. 2 and 8 p.m. Saturdays. 2 and 7 p.m. Sundays

Theater Review: The Outsider

                    Adam Daniel, John Nutten & Robert May

Ah, American politics. There’s nothing quite like it. But what do you do when the “leader” is afraid of the public, and public speaking, in fact even meeting people?

That’s the dilemma of Dave Riley (Adam Daniel), chief of staff to newly named Governor Ned Newley (Robert May), the ultimate policy nerd who is afraid of crowds larger than one.

Scripps Ranch Theatre presents playwright Paul Slade Smith’s hilarious (and sometimes horrifying) satire of the voting process “The Outsider” through Oct. 9.

Here’s the setup: The elected governor, forced to resign when he was caught in a sex scandal, is replaced by his extremely competent (at number-crunching) lieutenant governor Newley, who knows everything but how to talk to more than one person at a time. He stumbles into the office sweating profusely, leaving Dave and pollster Paige Caldwell (Deborah Dodaro) to figure out how to sell him as a leader.

Enter famous political strategist Arthur Vance (John Nutten), who decides to make Ned into a political superstar, not by changing him but by selling him as is. After all, what’s more relatable to voters than someone “real” like us who doesn’t spout boring stats? “Unprepared is where it’s at,” Vance notes.

Vance is helped by newly hired temp (and utterly incompetent secretary) Louise Peakes (Michelle Marie Trester), who fumbles her way into the job of lieutenant governor on her first day at work.

The only two characters left to meet are efficient TV reporter Rachel Parsons (Leigh Akin) – annoyed that she’s not allowed to ask hard-hitting questions – and her very able cameraman AC Petersen (Walter Murray).

The cast is excellent all around. Daniel’s chief of staff Dave does it all with his face, as he responds to what he hears. 

May does it with his body – the slouches, the collapses, the tentativeness. It’s an astonishing performance. 

Trester’s hopeless but hilarious temp Louise (later Lulu) is charmingly annoying and a kick to watch.

John Nutten’s pushy Vance just announces how things are going to be and…they are. 

Leigh Akin and Walter Murray, the TV reps, just do their jobs. And, incidentally, Dave takes a bit of a liking to Rachel. Will that work out? See for yourself.

Bravo to Christopher Williams' sure-handed direction. The sets by Alyssa Kane, costumes by Pam Stompoly-Ericson, sound by Ted Leib and lighting by Jared Jacobs all add to the atmosphere.

The selling of American candidates has become even more important (and often horrifying) since this play was written in 2015 and TV took an even greater role in politics. But with “The Outsider” you can still see the funny side of it.

Theater Review: Come Fall in Love: The DDLJ Musical

        

                                                

              The Cast of "Come Fall in Love: The DDLJ Musical

Ah, music. Ah, dance. The Old Globe has a winner this time, with the Broadway-bound world premiere of “Come Fall in Love: The DDLJ Musical,” at the Globe’s Donald and Darlene Shiley Stage through October 16.

Based on one of the most popular Bollywood movies ever made (“Dilwale Dulhania Le Jayenge”), “Come Fall in Love” is a toe-tapper that can’t help but engage, even fascinate American playgoers. 

Directed by Aditya Chopra, with book and lyrics by Nell Benjamin, music by Vishal Dadlani and Sheyjkhar Ravjiani and choreography by Rob Ashford and Indian choreography by Shruti Merchant and expansive and beautiful backdrops by scenic designer Derek McLane, this is a singin’, swingin’, dancin’ wonder.

The original story is about Simran, a young undereducated Indian woman whose future is planned for her: an arranged marriage to a man picked by her father. 

This version updates the place to Boston, where dad still works hard to feed the family, but Simran is in college at Harvard, where she argues in philosophy class that love sometimes means doing the selfless thing rather than the one that most appeals. “Don’t chocolate heart and rose me,” she sings.

But Simran dreams of touring Europe, and is thrilled when dad Baldev (Irvine Iqbal) agrees to send her to Europe for a month with her friend Cookie (Hannah Jewel Kohn). Cookie invites her boyfriend Ben and American student Roger (called Rog) to come along.

Simran arrives with a guidebook and a long list of things she wants to see. Cookie and her boyfriend laugh at this, but American student Rog (Austin Colby) agrees to go along with Simran’s list.

Well, as you can guess, Simran and Rog fall in love. Much music, dance and comedy ensue, including a hotel room scene featuring quick costume changes, misunderstood requests and general hilarity.

But soon enough, Simran and Cookie must return to Boston, and Simran will face the difficult task of whether to marry her father’s choice or try get him to agree to let her marry Rog.

The show features wonderful actor/singers all around, including Kate Loprest as Rog’s sexy mom Minky, Rupal Pujara as Simran’s sympathetic mom Lajjo and Kinshuk Sen, the husband chosen by Simran’s dad, who in this version is an American-style materialist with the hots for Minky.

But the real star of this show is magic of seeing all these folks singing and dancing together, with their gorgeous, colorful Indian costumes (by Linda Cho).

The show could stand some cuts from its current two-hour, 45-minute length. There’s a long number in which the students sing “Party and Spend Daddy’s Money” that makes its point rather more than necessary, for example.

But the cast, dancing and music (by Vishal Dadlani and Sheykhar Ravjiani, with book and lyrics by Nell Benjamin) are terrific, and I can pretty much guarantee that you’ve never seen anything like this show. See it while you can.

The details

“Come Fall in Love” plays through October 16, 2022 at The Old Globe’s Donald and Darlene Shiley Theatre, 1363 Old Globe Way in Balboa Park.

Shows Tuesday and Wednesday at 7 p.m.; Thursday and Friday at 8 p.m.; Saturday at 2 and 8 p.m.; Sunday at 2 and 7 p,m.

Tickets: $52 and up

Phone: (619) 234-5623

Theater Review: Kinky Boots

             Lukas Poost (Charlie) and Terry LaVell (Lola)

Parents can be such a pain, especially when they do boring things like sell shoes. In England. Not even London, but Northampton.

But fear not. Lola the drag queen and her Angels are back to fix that and kick up a storm (in 7-inch stilettos, mind you) at Moonlight Amphitheatre, which closes out its 41st season with “Kinky Boots" through Oct 1. 

About those shoes: Charlie Price’s dad (Johnny Fletcher) has been selling boring old shoes for years. Now he wants to retire and leave the business to Charlie (Lukas Poost), a thought that doesn’t cheer the boy all that much. And when the old man does pass on, Charlie gets ready to move to London with his intended fiancée Nicola (Dayna Sauble). Then he realizes he’ll have to fire the staff to move on.

But Charlie lucks out. One day he’s saved from a mugger by drag queen Lola (Terry LaVell). They get to talking, and Lola says she’s looking for spiffier stiletto boots to wear in her drag show. So Charlie can keep his staff but give them much more interesting things to create.

That’s the setup for “Kinky Boots,” the 2005 film that became a Broadway sensation, winning six Tonys in 2013, including Best Musical and Best Score.

Cyndi Lauper wrote the music and lyrics (and became the first woman to win the Tony as composer and lyricist), and Harvey Fierstein wrote the book.

The rest of the plot isn’t surprising at all, just great fun and full of characters like Don the bald grump (Berto Fernández) and Lola’s high-stepping Angels, who astound with their athletic feats. 

But this show isn’t about plot; it’s about the courage to stand up and “be who you want to be.” And since this is about a drag queen, that’s going to require visual imagery. This show has that in spades.

Bravo to Director Larry Raben and this big, wonderful cast, and to the creative team: scenic designer David Rockwell, costume designer Gregg Barnes, lighting designer Jennifer Edwards, sound designer Jim Zadai, hair and wig designer Peter Herman, properties designer Kathy Fabian, costume coordinator Felicia Broschart and properties coordinator Bonnie Durben.

Music director/conductor Wilkie Ferguson leads his eleven musicians with gusto, though at times the musicians come close to drowning out the singers.

But if you’re looking for entertainment, this is your ticket.

The details

“Kinky Boots” plays through Oct. 1 at the Moonlight Amphitheatre, 1200 Vale Terrace Drive in Vista. 

Shows Start at 7:30. Gates open at 6 p.m. for picnicking. Table reservations on the Moonlight Patio are available for $5 per person and include early entry at 5:30 p.m. Tickets are priced at $17-$61 with lawn discounts for seniors, students and military.

For tickets: (760) 724-211 or moonlightstage.com

 

Theater Review: Annabella in July

                    Cast of "Annabella in July"

Is there something magical about a ski lodge with a swallowtail butterfly flittering by? Or is it the Monarch butterfly on the program cover that lets you know this is going to be a different kind of play?

Playwright Richard Strand seems to suggest magic is in the air in the world premiere of his “Annabella in July,” on the boards through Oct. 2 at North Coast Repertory Theatre.

David Ellenstein directs the show, which opens at a California ski resort during off-season. We see a married couple – Nebraskans Brian (Louis Lotorto) and Vanessa (Jacquelyn Ritz) – having no luck getting into the locked door of what seems to be the dining room. Brian carries big, heavy-looking camera equipment. They are on a trip and have stopped for lunch.

Finally a woman appears from another door and lets them in. This is the hostess, Camelia (Leilani Smith). She greets Vanessa effusively (though calling her “Annabella”). She is also wondering why they are here at this time of year, but offers to feed them. Camelia’s teenage waitress Piper (Catalina Zelles) also calls her Annabella.

Vanessa insists she is *not* Annabella, and does not know who that is. She is a librarian, in fact a cataloger, and doesn’t understand the confusion.

Another visitor really starts to confuse things. He is a handsome man with a French accent named Alexander (Bruce Turk), who claims to know “Annabella” rather better than a married woman should know a strange man. He even claims she is such a fine athlete that she can ski uphill.

So what do you do in this situation? Somebody (or everybody?) seems to be having an identity crisis. But the place is lovely, so they decide to stay a while. This leads to more and more strangeness, which resolves in the second act to some character growth and more changes that you won’t see coming.

It’s a strange play that will keep you giggling when you’re not guffawing or wondering what’s happening. The excellent actors keep us involved. And there’s even an intriguing ending.

Set designer Marty Burnett has created a lovely set – and a door that has its own mind, adding to the rollicking craziness of the script. Costume designer Renetta Lloyd has caught the atmosphere brilliantly, with costumes that excellently portray the characters.

One suggestion I might make is to shorten the first act, which seems more redundant than necessary, since it’s dominated by Vanessa saying “I am not Annabella.” Yep, we got it the first ten times.

Otherwise, “Annabella in July” may not be a person you want to meet, but it’s fun to spend a few hours with her/them.

The details

“Annabella in July” runs through October 2, 2022 at North Coast Repertory Theatre, 987 Lomas Santa Fe in Solana Beach.

Shows Wednesday and Sunday at 7 p.m.; Thursday through Saturday at 8 p.m.; matinees Saturday and Sunday and Sept. 28 at 2 p.m. 

Tickets: 858-481-1055 or www.northcoastrep.org           

Theater Review: Rest

Rest is something nobody seems to get much of in OnStage Playhouse’s staging of Samuel D. Hunter’s “Rest,” on the boards just through Sept. 18 at OnStage Playhouse. Or maybe they get too much.

Hunter has staked out his native northern Idaho as his background for several plays, such as “A Bright New Boise” and “The Whale.”

“Rest” is set in a northern Idaho retirement home which is just about to close down (only three residents and a few staffers remain). The atmosphere is almost as cold as the outside temperature (this is snow country), the bleakness perhaps foretelling the future.

Leading the excellent cast (and running the show) is Anna Sandor as Etta, aged but still sharp as a tack, wife of nonagenarian Gerald (Nick Young), a former music professor and fan of postmodern sacred choral works. He’s especially fond of Arvo Pärt’s compositions. But now cowed by Alzheimer’s, he sees faceless beings and has a tendency to wander off.

The other resident is Tom (Tom Kilroy), who does not speak and seems capable only of sitting on the couch and watching TV, until we find out his secret later.

The residents are attended by two nurse’s assistants and best friends. Ginny (Talia Sade) is carrying a baby for best friend Faye (Nicki Barnes), a barren cancer survivor. And a new employee shows up: teenage born-again cook Ken (Marcel Ferrin), given to anxiety attacks.

Last but not least is Tom Steward as the home’s manager Jeremy, who seems to be in over his head.

It’s a grim situation, but one that Hunter treats without a trace of condescension, even when a fierce blizzard threatens and Gerald unexpectedly disappears (again), leaving the rest to confront their own demons and mortality.

OnStage’s James Darvas directs with as sure a hand as one can, given the sparseness of the script. He’s added loud noises, some shouting and sometimes frantic pacing, perhaps to give the audience a nervous feeling as well.

The set (Patrick Mason), costumes (Brad Dubois), lighting (Dylan Carter) and sound design by Estefania Ricalde and Jaden Guerrero all give the remote feeling required of the setting.

“Rest” is on the grim side, but the cast is excellent and there is a glimmer of hope at the end.

Theater Review: Fandango for Butterflies (and Coyotes)

 

                The cast of "Fandango for Butterflies (and Coyotes)"

A fandango is a spirited dance which brings a Latino community together in celebration.

The new musical “Fandango for Butterflies (and Coyotes),” just opened at La Jolla Playhouse’s Forum Theatre, is the West Coast premiere of a portrait of the immigrant experience written in 2020 by Chilean/Costa-Rican playwright Andrea Thome. It was produced originally by En Garde Arts.

Originally set in New York, Director José Zayas gives this production a West Coast flair by setting it in Barrio Logan, among six people who have managed to cross the border. Two are legal, but some of the others are fearful of an ICE raid that could send them back.

The characters are identifiable, likable and well played all around in this bilingual production in which all the lines are in English and all the songs in Spanish. But all words are translated on screens above the stage.

Mariposa (Jen Anaya), the “mother hen” of the group, is a deli worker attracted to a stable worker named Rogelio (Carlo Albán). The problem is that he is still married to the wife he left in Honduras a decade ago.

Danny Ray Caraballo is extremely effective as Rogelio’s cousin Elvin, another stable worker whose fear of deportation is heightened by the forced necessity of the ankle monitor he wears.

Rogelio’s other cousin Johan (played excellently by Roberto Tolentino) fears deportation for another reason: he’s gay, and fled Honduras in fear of his life.

Teen-aged Rafaela (Silvia Dionicio) from the Dominican Republic, was abandoned as a baby and raised in the U.S. She dreams of becoming a cop. And young Frances Ines Rodriguez provides both comic relief and tech savvy as Pili. Rafaela and Pili are both legal residents.

Composer Sinuhé Padilla and violinist Tania Mesa grace the stage with lovely musical accompaniment. Sometimes the music inspires one or more of them to climb up on a raised wooden platform called a tarima and show off the fancy footwork of a dance called the zapateado. (The platform even has a hole in front to heighten the sound effects.) The dances are delightful, perhaps even the best thing about the show.

Wannabe immigrants are not news to San Diegans, but Thome and Padilla, with this very human story, bring us welcome relief from the law enforcement/rightwing isolationist angles we are so used to hearing. Bravo to all.

The details

“Fandango for Butterflies (and Coyotes)” plays through Sept. 25, 2022 at La Jolla Playhouse’s Forum Theatre, 2910 La Jolla Village Drive.

Shows Tuesday and Wednesday at 7:30 p.m.; Thursday and Friday at 8 p.m.; Saturday and Sunday at 2 and 7 p.m.

Tickets:  LaJollaPlayhouse.org; (858) 550-1010