The Pear Theatre shines a unique light on social media with its current production. Since the advent of social media, the psychology world has had a field day running studies that claim to prove exposure to social media increases depression, decreases depression, makes people feel more connected, makes people feel more lonely, etc. In other words, whatever you want to prove, there’s a study out there for you. In 2016, Jeffrey Lo’s new play, Spending the End of the World on Ok Cupid, debuted at Ohlone College where it had been commissioned. The story takes an unusual look at the world of social media, and specifically an application called Ok Cupid (disclaimer from The Pear: “Spending the End of the World on Ok Cupid is not produced or endorsed by, or in any way affiliated with Match Group, LLC, or Humor Rainbow Inc., the exclusive owners of the OKCUPID® trademarks”). The premise is that a modern day prophet predicted the end of the world after he first correctly predicted that half of the world’s population would disappear in an event known as “the vanishing.” With only 12 hours left to exist, disoriented people who’ve lost loved ones and friends to the vanishing take to their phones and computers to create profiles on Ok Cupid. Each is looking to make some kind of connection one last time before whatever is going to happen, happens. Continue reading
The story of Cyrano de Bergerac has been told innumerable times. This story is a fictionalized account of a real person, and the play that started it all was penned by Edmond Rostand in 1897. The original play has been translated into many languages and adapted into other plays and movies worldwide over the years. In 2006, a new stage adaptation entitled Cowboy Versus Samurai, written by prolific playwright and screenwriter Michael Golamco, was published. The Pear is currently presenting this Golamco incarnation which moves the action to Breakneck, Wyoming, and adds a few new elements to the story.
Golamco has been quoted as saying that his play is “Cyrano de Bergerac with race as the big nose,” although there is far more involved than mere physical attractiveness. In Breakneck, there are initially only two Asian Americans in town. Travis Park (Lorenz Angelo Gonzales) is a high school English teacher. He’s a Korean-American transplant from Los Angeles who arrived in town a few years earlier in an attempt to get away from the chaos of the big city and the shambles of his life there. Chester A. Arthur (Chuck Lacson) is the only other Asian American resident. Chester was adopted by a local, white family as a baby, and he has been searching for a key to his biological heritage his whole life. Del (Drew Reitz) is the school’s P.E. teacher and a wannabe cowboy. He is a stereotypically, dim-witted jock who uses the word dumb as a noun in reference to himself, i.e., he is “a dumb.” Veronica Lee (Heather Mae Steffen) is another Korean-American who moves into town adding a third Asian American to the mix. She’s recently arrived from NYC and is the high school’s new biology teacher who shares a classroom with Travis. Like Travis, she has come to town to escape some of the big city chaos.
Chester founded BAAA – the Breakneck Asian American Alliance – to address Asian oppression, such as trying to get the local grocery store to carry tofu. Their organizational meetings are a source of witty repartee and consternation. Travis and Chester are the unlikeliest of friends given Travis is erudite and well-spoken, and Chester is kind of a militant hick with delusions of ninja-inspired grandeur. One might initially wonder what, other than race, brought these two together. As the plot thickens, it becomes clear that Travis feels a little sorry for Chester and clearly wants to help him.
Veronica’s arrival stirs the pot. Chester sees her presence as a cause for celebration and hopeful conquest. Travis sees her as an intelligent “officemate” and is somewhat smitten given their numerous common interests and histories. The only problem is that Veronica has “preferences” where dating interests are concerned, and those do not include Asian men. Enter Del and the start of the quirky, eloquent Cyrano story.
Ting Na Wang’s scenic design is appealing. A unit set is used for this production, featuring a gorgeous mural painted along the entire upstage wall. A classroom door defines the stage right boundary, and a teacher’s desk is positioned in front of the door. A moveable student desk is normally center stage, though that is moved a bit with the action. A working lamppost hugged by weeds is upstage right. A short, wooden, two-railed fence is immediately downstage of the lamppost. The fence runs along the upstage portion slightly in front of and beneath the mural. There is a cottage door on a platform stage left that is used both as a porch and a living space within the cottage, depending on the scene.
Jeffrey Lo directs this production beautifully and is assisted by Kaede Komatsuzaki. Lo’s cast isn’t completely authentic for the roles as defined, but his tight ensemble shines. Every characterization and movement is believable, even when some of the dialogue becomes rather farcical at times, particularly where Chester’s militancy is concerned. Lacson is clearly adept at playing larger venues as his exuberance and enthusiasm as Chester more than fill the space. In fact, he is slightly overpowering when viewed from the front row. All four actors show a great deal of depth and sensitivity in their portrayals. While audiences might expect Gonzales’ and Steffen’s characters to show such depth, Reitz and Lacson also evolve through the story. One very heated Act 2 exchange between Chester and Veronica is particularly gripping, each one taking verbal stabs at the other in rapid succession, each drawing the other out in bouts of unexpected honesty and deep feeling. Del too shows insights that one wouldn’t expect from his character through a discussion with Travis late in Act 2.
In the end, the story really is about love, not race. The message is that love goes far deeper than strictly the romantic variety. Golamco touches upon romantic love to be sure, but he also delves deeply into love of self, and love as friendship. Golamco makes it clear that one cannot love others if he cannot love himself. The script’s use of the letters Travis writes for Del to impress Veronica provide context and background that is both instructive and entertaining, particularly with Del’s delivery of material through those letters that is clearly not about him. They give the audience, and Del, a detailed look at what makes Travis tick.
One minor bit of inconsistency in staging is worth noting. At one point, Travis has all of the letters in hand, and he starts skimming them. The problem is that although audience members cannot read the writing, they can see through the page enough to notice that Travis is holding the letters sideways (at least they can from the front row). Perhaps this is an artistic choice to denote Travis’ life running slightly askew, or it’s an oversight.
Lo also provides the sound design for this production, and his choice of music for preshow, scene changes, and intermission provide an interesting mood mix. There is of course some country-western influence as one might expect in cowboy country, but there are also disco and pop elements, and even a hint of Hoagy Carmichael at one point.
There is some colorful language and innuendo interspersed along the way, but it is not gratuitous and instead sounds genuine in the course of the discussion. There is also high comedy in the more farcical portions of the story, particularly where Chester is concerned. While probably not appropriate for very young children, this Pear production is definitely worth a look.
What: Cowboy Versus Samurai, by Michael Golamco
Where: The Pear Theatre, 1110 La Avenida St., Mountain View, CA 94043
When: Continues Thursdays – Sundays through 8 April 2018
See http://thepear.org or call (650)254-1148 for tickets or more information.
(Photos courtesy of Michael Craig/The Pear)
A Good Reed Review also gratefully accepts donations via PayPal to help defray the costs of maintaining this site without creating paywalls.
During the holidays, the hype and family togetherness can sometimes be just a little overwhelming. It seems that it’s all about the kids, and the presents, and the singing, and the egg nog. Instead of drowning in that last one to escape, there is another remedy for someone seeking something that’s just a little less saccharine – The Santaland Diaries. What started in 1992 as a NPR holiday tradition that catapulted memoirist David Sedaris to international fame, has reached the TheatreWorks stage in their “alternate” holiday production this year. Joe Mantello adapted Sedaris’ essay into a full one-act, one-man play in 1996, and it has enjoyed seasonal success in regional, college, and in some cases even high school theatre ever since. In short, this little gem details Sedaris’ experiences as Crumpet the elf, navigating the treacherous landscape of Macy’s in Manhattan during the holiday season.
The play runs just 70 minutes without an intermission, and while it’s not appropriate for the youngsters who still believe in Santa, it will have their parents at least chuckling if not fully guffawing at poor David’s predicament as a misplaced and somewhat “low key” elf.
Jeffrey Lo directs Max Tachis in this TheatreWorks production at the Lohman Theatre on the Foothill College campus. Scenic designer, Christopher Fitzer captures the feel of the Macy’s Santaland setup with a nicely framed Santa throne in front of a small, but tastefully lighted pine forest. There’s no snow, except when momentarily provided by Mia Kumamoto’s lighting design toward the end of the piece.
Tachis is wonderful in this show. It’s not an easy task to be an engaging solo performer for an unbroken 70 minute stretch, but Tachis is up to the challenge. Before he enters the stage, the set stands open for patrons to take turns sitting in the big chair and taking pictures. Yours truly decided to take that opportunity to shoot the accompanying shot of the colorful set, signpost (next to the big chair) and all.
When Tachis first enters, he hams it up posing with the signpost for a few last photos before he instructs patrons to put their phones away for the duration of the performance. His curtain speech is a bit different than the standard recordings. It both does the job and sets the tone for much of what is to come.
Howard Ho’s sound design could almost be considered “counter-Christmas” with some rock, some eerie haunted-sounding holiday arrangements, and a bit of burlesque thrown in at just the right moment. In addition, as Tachis portrays David / Crumpet the elf introducing the audience to the different regions of Santaland, sudden horn blasts accompany the unfurling of the appropriate banners, sounding like attacks to the poor elf on stage.
Tachis, for his part, starts out as himself. Once he takes care of the pre-show business and delivers his unique announcement, he reemerges as David Sedaris, job hunter in NYC during the holiday season. As David, he recounts to the audience a conversation he had with his roommate sneering at the ads for seasonal help. He then shares that he applied to become a store elf on a whim after this discussion. Despite his having shared in some mockery with his roommate over such a position, he’s unemployed and down to his last $300 before he’d have to resort to becoming a dog walker to be able to eat and figures how hard could it be? Little did he know.
Tachis’ easy manner, sardonic delivery, and facial expressions convey volumes. Through his monologue, we come to understand that in many ways, becoming a store elf is much like any other job. The duties, however, are a bit specialized. As he recounts the interview, onboarding, and training phases, he clearly points out the unique aspects of his position. It’s evident that David really doesn’t belong in this job, but he’s going to make it work somehow.
Then David gets to the final training session when his work uniform is required. He changes on stage with appropriate snide comments about his elven wear, and a chorus of “Santa Baby” plays on as he applies the velvet costume pieces. Costume designer Jill C. Bowers hits the perfect combination of colors and textures to make his outfit memorable and authentic.
Much of what Tachis relays sounds extremely familiar to anyone who has worked in the service industry dealing with the general public up close and personal. Whether it’s the impatient or insipid customers, or his zany colleagues, audience members can picture the people he describes and, in many cases, correlate them to acquaintances from their past.
The standout scenes though are when Tachis brings out his alter ego, designed by Mark Stys. His mini-me elf puppet is adorable, and the interactions Tachis has with him are priceless. Whole conversations ensue, some involving members of the audience, some further upstage, but all with wonderful expressions and mannerisms. Tachis is quite an adept puppeteer for this production, seamlessly manipulating the mini-elf and frequently exchanging glances as they “share” the jokes together.
Being live theatre, there are moments where slight malfunctions might occur, and on opening night did occur at least once. At one critical moment, a set piece didn’t entirely cooperate when it was deployed, but Tachis adroitly delivered a situational ad-lib and didn’t miss a step. He has internalized this material to the point where it flows easily and naturally, no matter what happens.
This production won’t appeal to everyone, but if you’re looking for a fun escape from the normal holiday happiness, this is definitely the show for you. It’s a little edgy, but not overly so. It’s a got a wee bit of off-color language and content, but there too, not excessively so. It gives audiences an entertaining appreciation for a seasonal job that they’ve certainly at least seen if not lived themselves. It’s clever, and the time flies by before sending folks back to their normal holiday hubbub.
What: The Santaland Diaries, by David Sedaris, adapted by Joe Mantello
Where: Lohman Theatre, Foothill College, Los Altos Hills, CA
When: Continues through 23 December 2017
See http://theatreworks.org/201718-season/201718-season/santaland-diaries/, email firstname.lastname@example.org, or call (650)463-1960 for more information or to order tickets.
(Photo credits: Kevin Berne for all but the preshow set shot; A Good Reed Review preshow set shot)
Did Anton Chekhov write tragedies? Comedies? Dramas? Dave Sikula has taken a very deep dive into Chekhov’s legacy, writing translations of several of his major works, including The Pear’s current offering, Uncle Vanya. As Sikula noted in a 2013 San Francisco Theater Pub blog post while working on this translation, Chekhov thought his plays were comedies, and he tends to agree with that assessment. Stanislavski, from Chekhov’s time, disagreed and thought his plays were heavy dramas of the darkest order, which is reputed to have driven Chekhov to distraction. So what is Uncle Vanya? Continue reading