Seeing Beneath the Surface | “Violet” @ Actors Co-Op

Violet (Actors Co-Op)A few weeks ago, I wrote about the stark difference between two shows by the same composer (in that case, the team of Andrew Lloyd Webber (FB) and Glenn Slater (FB)): School of Rock was fantastic, whereas Love Never Dies really should have. Last night brought a similar comparison. Last week, I wrote about how Soft Power at the Ahmanson Theatre (FB), with a score by Jeanine Tesori, landed with a thud. Last night, we saw an earlier show by Jeanine Tesori, Violet, at Actors Co-op (FB) and it was glorious and soaring and delightful. It even was a temporary cure for a migraine, it was that good.

I’ve seen Violet before — I saw the West Coast Premier almost three years ago to the day at the El Portal in NoHo, produced by Kelrik Productions. Last nights production was a bit larger and had a bit — just a bit — more props, but was equal if not stronger performance-wise. Before I go into those performances, let me describe the first, stealing from my description of three years ago:

Violet (Music by the aforementioned Jeanine Tesori, lyrics and book by Brian Crawley, based on “The Ugliest Pilgrim” by Doris Betts) tells the story of Violet Karl of Spruce Pine, NC in 1964. When Violet was 12, an accident with her father and an axe left her with a large facial scar, from cheek to nose. Ever since, she has been teased and grown to accept her ugliness. Keeping her going was a faith healer in Tulsa OK. Now 25, Violet has raised enough money to take Greyhound to Tulsa to be healed. Going through Tennessee, she meets two Army soliders: a black sergeant named Grady “Flick” Fliggins, and a young white corporal named Monty. Both take an interest in Violet. While overnighting in Memphis in a hotel that accommodates blacks, they go out to party and Monty ends up sleeping with Violet (although Violet told Flick she had left the door unlatched).  When they arrive at Fort Smith AR, the Monty indicates he will come back Saturday to meet her bus after she’s done in Tulsa. She continues on to Tulsa where she meets the healer… and you can likely predict what happens there. I won’t spoil the details of the end of the story, but you can read them on the Wiki page for the musical. Throughout the show, there are regular flashbacks to young Violet and her father showing their relationship and how she reacted to the scar and the absence of her mother. PS: I also found a wonderful scene breakdown.

Violet (Production Photostrip)This is a show with a strong message — and it isn’t about the charade of faith healers (although there is a strong message of the power of belief). At one point, the phrase Act ugly, do ugly, be ugly.” is used. In many ways, this is the underlying metaphor for the show. What you believe about yourself, how you behave, is what makes you ugly or beautiful. At the beginning of the show, Violet sees herself, due to the scar, as ugly. Later on in the show, after she believes she has been healed, you can see the change in her — she now believes she is beautiful and through the stint of that belief, transforms. But it isn’t just Violet. We see the soldiers transform from acting ugly to becoming caring people. We see, in the reactions of others, ugliness reflects. What becomes important is not “Act ugly, do ugly, be ugly” but its counterpoint: “Act beautiful, do beautiful, be beautiful.” It is our beliefs and behaviors that dictate how society sees us. Further, given this is the south in 1964, it is how society behaves — beautiful or ugly — that determines what society is.

This production of Violet, directed by Richard Israel (FB) with choreography by  Julie Hall (FB), was a delight. The performances were remarkable, with great facial expressions and believable reactions, wonderful movement, and soaring voices.

In the lead position was Claire Adams as Violet. I had so much fun watching her perform this role. She had a strong singing voice, but what got me more was the attitude she displayed and her facial expressions, She displayed a wonderful range of attitudes, and truly made the show special. Effectively paired with her was the younger version of Violet, played by Lily Zager (FB). She captured a similar range of attitude well and had a great singing voice. Even better was when the two of them sang together; their voices merged together delightfully. Just watch the two of them in the opening number or “Luck of the Draw”. [PS: Claire also designs webpages, a fact not in her bio but one of the ads]

Primarily playing off the adult Violet were the two soldiers she met on the bus ride:  Morgan West (FB) as Monty and Jahmaul Bakare (FB) as Flick. West gave a very tender portrayal of Monty, capturing not only bravado of a man entering the special forces, but the tenderness of a man who connected with a girl inside the damaged shell.  We’ve seen Jahmaul Bakare before — he was in the previous production we saw, where I wrote Bakare had a voice that would just make you melt; it was particularly notable in numbers such as “Let It Sing” and “Hard To Say Goodbye”.  He hasn’t changed, and is wonderful to listen to.

Primarily playing off the younger Violet was John Allsopp as Violet’s father. We saw Allsopp ages ago in Pest Control, so long ago he doesn’t list it on his resume! He gave an intense performance, ranging from the playful in “Luck of the Draw” to the emotional in the “That’s What I Could Do” number. His intensity in that number was just remarkable.

The remaining actors played multiple roles as bus passengers, as well as members of the ensemble. There are a few performances that are worth singling out. First and foremost is Kevin Shewey (FB) as the Televangelist Preacher (also Bus Driver, Gospel Choir).  He played the preacher with such intensity and spirit that I almost got up. Alas, my Judaism won out :-). He was also a strong singer in “Raise Me Up”. As we’re talking about church, I’d also like to single out Benai Boyd (FB) who portrayed Lulu Buffington, the lead Gospel singer (also: Almeta (Landlady) and a bus passenger). She had a wonderful voice during the gospel number. The next performer worthy of note was Lauren Thompson (FB), who for the longest time was our box office contact for this company. She played the Music Hall Singer, as well as a member of the Gospel choir and a bus passenger. I never realized that she had such a lovely voice. Lastly, I’d like to mention Co-Op regular Lori Berg (FB), who was wonderful as old lady on the bus (also: hotel hooker, gospel choir). Rounding out the ensemble as various bus passengers and choir members were: Patrick Cheek (FB) [Virgil, Leroy Evans]; Matthew Podeyn (FB) [Billy Dean, Waiter, Radio Singer]; and Emuna Rojkumar (FB).

Music was provided by a 5 piece band, conducted by Taylor Stephenson. The band consisted of Ellie Bunker [Violin]; Thomas Lovasz [Cello]; Dominic White [Guitar 1]; Manuel Mendoza (FB) [Bass]; and Jorge Zuniga (FB) [Drums]. The band had a wonderful sound.

Finally, turning to the production side. This performance was held in the Crossley Theatre, which is essentially a thrust staging with audience on three sides of the main action. The sides were made up to look like bus windows, and there were 1950’s style (mimicing PCC busses) movable benches and seats that became the various problems. Credit for the scenic design goes to Nicholas Acciani (FB), and it worked very well, Supporting this design was  Wendell C. Carmichael‘s costumes, which seamed reasonably appropriate for the era (I have a few quibbles on the Army uniforms — they conveyed the message but were lacking the normal uniform accouterments).  Cameron Combe (FB)’s sound provided the appropriate sound effects. Martha Carter‘s lighting design worked well, modulo a misbehaving LED above the band that wasn’t her fault. Remaining credits: Klint Flowers [Hair and Makeup]; Samantha Ramirez [Properties]; Derek R. Copenhaver (FB) [Stage Manager]; Jamie Mills [Asst. Stage Manager]Heather Chesley (FB) [Artistic Chairwoman];  Selah Victor (FB) [Production Manager]; Nora Feldman [Publicity]Thomas Chavira (FB) [Producer].

Violet continues at Actors Co-op (FB) through June 15. Go see it; it is a wonderful production with great music. Tickets are available through Actors Co-Op; discount tickets may be available through Goldstar.

Actors Co-Op has announced their 2018-2019 season, which consists of: Rope (Sept 21-Oct 28); She Loves Me (Nov 2 – Dec 16); Anna Karenina (Feb 8-Mar 17); Steel Magnolias (Mar 22-May 5); and The Christians (May 10-Jun 16). They’ve also announced their Co-Op Too! summer series: Stories of Madness from the Mindful Nut (July 20-22, 27-29); Always Andrews: A Musical Tribute to the Andrews Sisters (Aug 2-5); and Twelfth Night, or What You Will (Aug 10-12, 17-19). We’ve subscribed. So should you.

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Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at 5 Star Theatricals (FB) [the company formerly known as Cabrillo Music Theatre (FB)], the Hollywood Pantages (FB), Actors Co-op (FB), the Chromolume Theatre (FB) in the West Adams district (although, alas, they just announced they are going dark after Fringe), a mini-subscription at the Saroya [the venue formerly known as the Valley Performing Arts Center (VPAC)] (FB), and the Ahmanson Theatre (FB). Through my theatre attendance I have made friends with cast, crew, and producers, but I do strive to not let those relationships color my writing (with one exception: when writing up children’s production, I focus on the positive — one gains nothing except bad karma by raking a child over the coals). I believe in telling you about the shows I see to help you form your opinion; it is up to you to determine the weight you give my writeups.

Upcoming Shows:

Next weekend brings a Nefesh Mountain concert at Temple Ramat Zion on Shabbat; the weekend itself is currently open.

June — ah, June. That, my friends, is reserved for the Hollywood Fringe Festival (FB), including The Story of My Life from Chromolume Theatre (FB). You can find a detailed discussion of the Fringe schedule here. Right now, it looks like the following:

July will get busier again. It starts with the 50th Anniversary of Gindling Hilltop Camp, followed by On Your Feet at the Hollywood Pantages (FB). The next weekend may bring Jane Eyre The Musical at Chromolume Theatre (FB) at the Hudson [yeah! Chromolume found a new location]. The third weekend in July brings a Bat Mitzvah in Victorville, with Beauty and The Beast at 5 Star Theatricals (FB) that evening. The last weekend may be a Muse/ique (FB) show. August starts with Waitress at the Hollywood Pantages (FB). I still need to work in the Actors Co-Op Too! dates into the schedule.

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-LemonsMusicals in LA@ This StageFootlights, as well as productions I see on GoldstarLA Stage TixPlays411 or that are sent to me by publicists or the venues themselves. Note: Lastly, want to know how to attend lots of live stuff affordably? Take a look at my post on How to attend Live Theatre on a Budget.

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June 2016 California Primary Analysis (IV): US Senate and House

I recently got my sample ballot for the “Statewide Direct Primary Election” on June 5, and boy, is it going to be a confusing election for people. We have two contests with enough candidates to take two pages (27 candidates for Governor, 32 for Senator, and two contests for our assembly district: one for the “short term” because the previous assemblycritter left early thanks to #metoo, and one for the “full term”, with the same candidates). There are going to be a lot of posts as I work through this. Here’s the sequence as I see it (note: links to articles not yet posted will not work or may be incomplete):

This post will cover the US House of Representatives (30th District) and the US Senate.

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June 2016 California Primary Analysis (III): State District-Based Offices

I recently got my sample ballot for the “Statewide Direct Primary Election” on June 5, and boy, is it going to be a confusing election for people. We have two contests with enough candidates to take two pages (27 candidates for Governor, 32 for Senator, and two contests for our assembly district: one for the “short term” because the previous assemblycritter left early thanks to #metoo, and one for the “full term”, with the same candidates). Then there are all the other state, county, and district contests, plus the propositions. There are going to be a lot of posts as I work through this. Here’s the sequence as I see it (note: links to articles not yet posted will not work or may be incomplete):

This post will cover the State Board of Equalization (3rd District), and the two elections for Assembly District 45: the Full Term and the Short Term.

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June 2016 California Primary Analysis (II): Other Statewide State Offices

I recently got my sample ballot for the “Statewide Direct Primary Election” on June 5, and boy, is it going to be a confusing election for people. We have two contests with enough candidates to take two pages (27 candidates for Governor, 32 for Senator, and two contests for our assembly district: one for the “short term” because the previous assemblycritter left early thanks to #metoo, and one for the “full term”, with the same candidates). Then there are all the other state, county, and district contests, plus the propositions. There are going to be a lot of posts as I work through this. Here’s the sequence as I see it (note: links to articles not yet posted will not work or may be incomplete):

This post will cover the other statewide California officers: Lieutenant Governor, Secretary of State, Controller, Treasurer, Attorney General, Insurance Commissioner, and Superintendent of Public Instruction. The district-based state offices — Board of Equalization and Assembly — will be covered in Part III.

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June 2016 California Primary Analysis (I): Introduction and Gubernatorial

I just got my sample ballot for the “Statewide Direct Primary Election” on June 5, and boy, is it going to be a confusing election for people. We have two contests with enough candidates to take two pages (27 candidates for Governor, 32 for Senator, and two contests for our assembly district: one for the “short term” because the previous assemblycritter left early thanks to #metoo, and one for the “full term”, with the same candidates). Then there are all the other state, county, and district contests, plus the propositions. Not to mention the fact that California does “jungle primaries” (which I’m growing to dislike) where all the candidates from all the parties are on the ballot. The theory was that this would lead to more moderate candidates; the reality is that all major moderate candidates split the votes sufficiently to allow candidates folks don’t like to squeak through, and it is more of a mess. There are going to be a lot of posts as I work through this. Here’s the sequence as I see it (note: links to articles not yet posted will not work or may be incomplete):

California Governor

Let’s start with the Governor’s race, and the 27 candidates. Going in to this analysis, I know two things: (1) I’m not a big fan of either of the front runners, Gavin Newsom (FB) or Antonio Villaraigosa (FB), and (2) I was very impressed by both Delaine Eastin (FB) and John Chiang (FB) during the one debate I saw. So I have a feeling where this will end up. But I do try to at least consider all candidates. I’m going to divide them into tiers: the first tier are those who have any chance of winning a place in the general election due to name recognition or publicity, the second tier are those who might have a political future somewhere, and the third tier are the unqualified rest.

[Read through the analysis below, and then come back here. I’ll wait. Note that normally I’ll have a “Conclusion” at the end, but this one is so long….]

Now that I’ve gone through the candidates, my initial feelings were confirmed. I like both Delaine Eastin (FB) and John Chiang (FB). I’m giving Chiang the edge right now for three reasons. First, he uses a state highway shield as his campaign logo. Second, he has a better chance of breaking through to the top two than Eastin. Third, he’s got more of a Southern California connection.

Now, on to the detailed analysis that led to the above….

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And Don’t Call Me Late For Dinner

Perhaps you remember the old saying, “I don’t care what you call me, but don’t call me late for dinner.” The truth of the matter, however, is that it is vitally important what you call me (and still, don’t call me late for dinner). A number of news articles and incidents have brought this home to me.

USA Today is reporting that President Trump has ramped up his rhetoric, and is now referring to undocumented immigrants as “animals”: Specifically, in a White House meeting, the President said, ““We have people coming into the country or trying to come in, we’re stopping a lot of them, but we’re taking people out of the country. You wouldn’t believe how bad these people are. These aren’t people. These are animals.”

Think about that last sentence. And then think about how we treat animals. We put them in cages without their permission. We euthanize them when they are terminal. We take their children away from them and give them to others to care for. This is how we treat animals. NPR reported back in 2011 how Germany during WWII refered to Jews as rats to dehumanize them. Referring to classes of people as animals opens the door to cruely, genocide, and other horrors.

Now put this into the context of the latest policy change of ICE: separating children from their parents at the border. That is the act of someone that sees an undocumented immigrant as an animal, who isn’t worthy of being a parent or capable of loving their children.

I’ve written before about the importance of treating people with respect, even if you disagree with their ideas. Even Conservatives will argue that human life has value — after all, I don’t see Conservatives arguing that abortion should be legal for undocumented immigrants. So why isn’t the entire country up in arms about this? Why don’t we insist that there is a minimum level of treatment any human on this planet deserves. People deserve to not be treated like animals, people deserve not to be forcibly separated from their children. Even if you feel you must refuse entry to this country, at least don’t separate families, provide humane living conditions, and treat people with respect during the process.

Mass murderers and serial killers start small, on animals, and work their way up. It desensitizes. Similarly, starting the treatment of undocumented “others” as animals is only a first step. Next comes similar treatment for documented others whose otherness we don’t like. I”ve already personally seen more hints of that against Jews; I’ve seen posts detailing that treatment against other minorities.

We fought against people who did that during WWII. We must never let that happen here, and so we must protest the treatment of undocumented immigrants as animals.

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Yerushalyim Shel Shalom

Yesterday, the US officially moved its embassy in Israel from Tel Aviv to Jerusalem. It has brought up a number of discussions, so I thought I would share my thoughts this morning before I start the day. I refer people to my statement of core values from a few days ago.

Why was the embassy moved? Ostensibly, it was in recognition of Jerusalem’s status as Israel’s capitol, but as that had been on the table for a long time before, it wasn’t the real reason. The timing behind it being done now was to please Trump’s evangelical base: it fulfills a biblical prophesy that supports Covenent Theology and hastens the end of days. If you read my core values, you know my thoughts on that: I think it is presumptuous for humans to take the place of God and to do things to fulfill prophecies of a particular religion. Let God fulfill God’s prophecies in God’s time.

I saw others seeing yesterday as a “dark day for the US” because no Democratic Congresscritters attended. Given the Congress normally doesn’t attend embassy openings, I’m glad they didn’t waste the money. In the long run, who attended the ceremony won’t matter one bit. Unless is it the catalyzing action for a war, even moving the embassy won’t matter 100 years down the road. All that is significant is US support for Israel, through monetary support and military and trade alliances. For some segments of Judaism, moving the embassy is vitally important (again, often for prophetic reasons). For most American Jews, however, it is more problematic. It is likely good that it is in Jerusalem, but the timing is problematic. Right now, there was loads of violence and death as protests erupted; and unsurprisingly, the Israeli government may have responded in a way that hurt their image. Did the Israeli government overreact? Probably, but I don’t always agree with what the Israeli government does, nor do I have to. I do predict there will be chaos over this for a while, but eventually things will settle back to the normal level of hatred between the parties. After all, it’s just an embassy. In fact, one article I read noted an interesting side effect: It might lead to the opening of an embassy for the Palestinians, also in Jerusalem, which they consider as their capitol.

Finding peace in the region is a difficult goal, and it ultimately depends on the parties agreeing to compromise with each other — and that means formally recognizing each other. Palestinians must recognize that Israel must be allowed to exist in peace in some form; that to achieve their nation means not wiping Israel from the map. Israel must agree that that Palestinians have the rights to some land and some level of reparations, and that how their government has been treating them has been wrong. Both are hard recognitions to make. Trump may stumble into a solution (just has he has in Korea), not through any particular action other than pandering to his base and being batshit crazy and having a much more personal style. Being crazy and focusing on personal relations is normal operations in the Middle East, and I’ve at least one article suggesting the Palestinians work with Trump. Consider that his pulling out of the deal with Iran has not only given Iran the power to look like a good guy by staying in the pact with the Europeans, but has put fear into the Saudis and gotten them talking … to Israel. Who knows what will happen because of the unpredictability of Trump, and the fear of the unpredictable may push parties together. If in the long term the balance of powers shifts in the Middle East so that the US’s power is diminished, well, at least the US is taking care of itself, right? After all, that’s worked with China and Russia? Right? Bueller? Bueller?

However, the point of this is that the opening ceremony for the embassy in Jerusalem is noise in the larger geopolitical issues. It may seem a big deal now, but it will be overshadowed by other things quickly. Despite evangelicals seeing it as important and the fulfillment of prophecy, it ultimately is at most a sentence in a history book (if indeed there are history books — the world is coming to an end, right?).

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Soft Power, Hard Landing | “Soft Power” @ Ahmanson

Soft Power (Ahmanson)Wikipedia defines the term “soft power” as:

…the ability to attract and co-opt, rather than by coercion (hard power), which is using force or giving money as a means of persuasion. Soft power is the ability to shape the preferences of others through appeal and attraction. A defining feature of soft power is that it is noncoercive; the currency of soft power is culture, political values, and foreign policies. Recently, the term has also been used in changing and influencing social and public opinion through relatively less transparent channels and lobbying through powerful political and non-political organizations. In 2012, Joseph Nye of Harvard University explained that with soft power, “the best propagandais not propaganda”, further explaining that during the Information Age, “credibility is the scarcest resource.”

American Musical Theatre has long been a form of soft power, of propaganda, of pushing western thoughts and ideas upon to other cultures. It has been a means of subtly advancing the notion that the West and White is right. This was true in the musicals of the 1950s such as The King and I and even My Fair Lady to current efforts such as The Book of Mormon. It was the intense … presumptuousness … of The King and I, combined with the growth of China as a superpower, that influenced writer David Henry Hwang to start the notion that led to his musical (excuse me, “play with a musical”) Soft Power that formally opens May 16 (and which we saw last night, May 12) at the Ahmanson Theatre (FB).

The trope in The King and I that caught Hwang’s attention was the notion of a White teacher coming into Siam, and through a relationship with the King, convincing them that their traditional ways are wrong and that western ways are better, and along the way using theatre to make fun of and denigrate that Siamese culture, all while winning a Tony award. Subsequent productions of The King and I around the world advanced these subliminal and subtle “West is Best” notions, and demonstrated the power of theatre and musicals — an American art form — to influence minds. This combined with a real life incident in which Hwang was stabbed in the neck while walking home in Brooklyn,  seemingly because he looked like an Asian delivery boy and wouldn’t complain to the police, to provide the basis for what became Soft Power.

Unfortunately, while the underlying notion of China wanting to improve its reception in the world-wide community through the exertion of soft power is an interesting one worth exploring, the execution in the play with a musical Soft Power at the Ahmanson lands with a thud, leaving audiences dazed and confused in a whirlwind of cognitive dissonance.  There are moments where the audience experiences feelings not unlike the opening night audience of Carrie, their jaws open in stunned amazement like the scenes in Springtime for Hitler at the sheer audacity of the production. This was a preview, and so things may change, but the presentation of the embedded musical needs completely different framing to be accepted by American audiences. Further, the ending is a complete whiplash, a stab in the neck (so to speak) that makes one go “WTF?”. As it stands currently, although some tweaks might be made, some fundamental rethinking of the approach and the presentation of the message is required if this “play with a musical” is going to have long term success.

Before I can attempt further analysis, let’s synopsize the show. Note that this is from memory, as there is no scene list nor song list in the program.

The show opens with David Henry Hwang (yes, the playwright) having a meeting with a Chinese media company about bringing a rom-com TV series set in Shanghai to both American and Chinese audiences. The Chinese executive wants changes in the story, which he feels reflects too much of an American view of China, and not the image China wants to present of itself and its values throughout the world. As an example, he objects to a reference to “a day with good air quality”, for it implies that there are days with bad air quality. The discussion then turns to the personal, where this producer Xue Xing, talks about his girlfriend Zoe and his wife back in China. They get together that night to see The King and I at the Ahmanson (yes, really, even though it actually played the Pantages) and then go to a Hillary Clinton rally. The girlfriend talks about The King and I as a message delivery system (ouch, sorry, I just got hit on the head with a hammer), while Xue talks about the craziness of the American electoral system. He notes that in China, elections aren’t necessary because the best person — such as Hillary — just gets appointed to positions of power. After the meeting, they watch the election returns and see Hillary’s loss. Xue returns to China, and Hwang to Brooklyn. Walking home, he is stabbed in the neck and loses consciousness, and apparently imagines the musical that is to occur.

It is now 100 years in the future, and China is remounting their worldwide successful musical about this incident, based on a biography written by Xue’s dauther, Jing. The musical starts with Xue leaving his daughter for America. Arriving at the Hollywood Airport, he is met by gangs of rappers, threatened with guns, and essentially mugged. Saved by his driver Bobby Bob, he is driven to Hollywood and Vine where he meets with DHH (Hwang) about producing the musical. They agree to meet again, at a popular American restaurant, McDonalds, where Hillary Clinton is having a campaign rally. During this rally, Hillary sings and dances in tights, and meets with Xue. He tells her she should win, how China supports science and fights global warming and for truth, and how she deserves to be General Secretary. Leaving the rally, Hwang gets stabbed in the neck and dies. When Hillary loses the election (obstensibly because she met with a Chinaman who endorsed her), all hell breaks lose. End Act I.

There’s also a number — I can’t remember whether it was Act I or Act II — with the Chief Justice singing about how silly the American primary and electoral system is.

Act II opens with a retrospective media panel in the future talking about this musical. It includes the children of the musical’s authors, Xue’s granddaughter, and a media professor from USC. When the Chinese presenters talk about this new artform and how it took the world by storm, the professor notes that it was invented in America. The Chinese note that the initial idea was American, but that was overly simplistic — after all, they wrote musicals about cats and singing lions — and that the Chinese improved the artform. The professor talks about how the presentation of America was incorrect and inaccurate, and the Chinese note that was the account in the book, and it must be correct. They then return with the musical, with Hillary sitting on the stage bemoaning her loss and eating pizza and Ben and Jerry’s. Xue comes to visit with her. She tells him that America has declared war on China, and he vows to go to Washington to make things right. Meeting with the new White House, which is festooned with Budweiser pylons, the Vice President and senior officials are singing and dancing a song titled “Good Guy with a Gun”. Xue convinces them to lay down their guns and create a new Silk Road under China’s leadership. Returning to Hillary with his success, he tells her that he loves her, only to have her reject him in favor of American values and “Democracy”. He returns to China. The closing scene in the “musical” is him in his hospital bed, relating the story to his daughter.

Suddenly, we return to the present and it is Hwang in the hospital bed, telling his story again. He points out how unrealistic is is, and suddenly the cast returns in street clothes singing about “democracy”. Curtain closes.

WTF?

While watching this, I started out thinking it was going to be OK. When the musical started, however, things went sideways and I sat there, mouth open and stunned. The sheer offense at the portrayal of America, the insulting nature of how Hillary was portrayed, the insulting attitude towards the American electoral system, the notion of singing and dancing and praising guns: it was just too much, too soon, and way over the top. Intellectually, I could see this as a direct parallel to how The King and I portrayed Thai culture and made fun of it. Emotionally, however, it is just as King and must have hit with Thai audiences. Upon reflection, the message was imparted; however, sitting in the seats in the Ahmanson, it didn’t work. Thinking about it makes me think of the lines from Urinetown: “I don’t think that many people are going to want to see this musical, Officer Lockstock?” “Why do you say that, Little Sally? Don’t you think that people want to be told that their way of life is unsustainable?” American audiences will not accept this portrayal of America as crime ridden, while people get stabbed in the street and left to die without health insurance, where we worship our guns and defend our ballot system even when it gives the wrong results. They will not see this as a future Chinese view of an American system that China views as inferior; they will view it as a direct commentary and reject it at the box office. Sledgehammers such as this rarely work in the theatre; points are made stronger by allegories such as Urinetown.

Another interesting compare and contrast is with the other recent juggernaut, Hamilton. Hamilton also comments on the American way and upon current attitudes towards the immigrant with a positive message and portrayal. It is successful precisely because of that. The negative mocking view of American political leaders in Soft Power will be treated as insulting by both Hillary and Trump supporters. The author misjudged, in my opinion, how this would land.

This brings us to the ending, which is a WTF? Suddenly, the whole cast is singing about “Democracy”, just as if they didn’t have faith in the message they were bringing, and had to reassure the audience. The story needed a different setup at the start to frame the musical, and a different analysis and denouement at the end to recast the musical and make a statement. Without that, the musical comes off like the Uncle Tom’s Cabin ballet in King and I, a misguided and pointless commentary on a system through different eyes.

We walked out of Soft Power thinking that it was a train wreck, yes, but trying to see how the train wreck differed from the crash and burn that was Love Never Dies at the Pantages. With LND, I opine, the flaw was fundamental: the notion that a rape occurred, and the Phantom escaped, for everything to happen again in Coney Island. The story should never have been done in the first place. With Soft Power, the underlying notion is a good one: China wanting to gain power by presenting itself in a different light through the American musical form. But the execution of the idea was what was flawed. Some subgroups in China, such as the Falun Gong, already exploit the American Musical Form for propaganda purposes through the Shen Yun shows. It doesn’t change opinion. China is much more successful wielding soft power throughout the world through their engineering efforts in Africa, through their manufacturing prowess, and through behind-the-scenes lending. A Chinese musical commentary on the weakness of American values would not be through the American musical form, and wouldn’t use the heavy-handed colonialism style of The King and I.

Musically, the score was not one of Jeanine Tesori‘s best. None of the songs were particularly hummable or memorable. There were no ear-worms as were inflicted by Love Never Dies. Perhaps the most catchy number was the most offensive one, “Good Guy with a Gun”. There were rock power ballads such as “Democracy” that came out of no place and didn’t fit musically. If the embedded musical was to be a Chinese developed musical — even in the future — the music would have had a Chinese cultural form and instrumentation to be accepted by Chinese audiences. It wouldn’t ape Western forms. Essentially, the music landed mostly with an equal thud, not making its point. Tesori can do better — look at the scores for shows like Fun Home as a good example, or Shrek, or Violet (which is just about to open at  Actors Co-op (FB)). Rethinking of the presentation and the music is needed, in this audience member’s opinion.

I think some of the blame here belongs with the Dramaturg, Oskar Eustis, of the Public Theatre. According to Wikipedia, the process of dramaturgy is “broadly defined as ‘adapting a story to actable form’. Dramaturgy gives a performance work foundation and structure. Often the dramaturg’s strategy is to manipulate a narrative to reflect the current Zeitgeist through cross-cultural signs, theater and film historical references to genre, ideology, role of gender representation etc. in the dramatisation.” In this case, the dramaturg should have recognized that the embedded musical was veering the production into a direction an audience would not accept, and that the musical forms used were inappropriate to the story being told.

Similarly, I think the director, Leigh Silverman, and the choreographer, Sam Pinkleton, did the best with the material they had. They tried to bring good performances to the actors, but the material was so over-the-top that any believably was lost, and the story framing was off so that the non-believability didn’t land either. The dances were entertaining, and appropriate to the scenes, but were completely incongruous, and inorganic to the story line. Again, the fault is with the story, I believe.

The performances, however, were strong. Particularly notable was Alyse Alan Louis (FB) as Zoe/Hillary, who blew the audience away with her singing on “Democracy”.  If I wasn’t so stunned by the audacity of the writing, I would have been cheering for the performance.  She got stuck with misguided characterization of Hillary Clinton, which she handled reasonably well. Her sitting on the edge of the stage eating pizza and ice cream, while singing, was a hoot.

Also strong was Francis Jue (FB) as DHH (David Henry Hwang). His role was more of a dramatic one, but he was believable as the playwright, and you couldn’t really ask for more than that.

As the main protagonist of the story, Xue Xing, Conrad Ricamora (FB) provided a non-caricatured performance in a clearly caricatured world. He handled the singing and the story quite well.

The remaining actors served as members of the ensemble and provided smaller character roles; a few had standout or solo moments in song (which the lack of a song-list in the program makes it difficult to highlight). The ensemble consisted of: Billy Bustamante (FB) [Xue Xingu/s], Jon Hoche (FB) [Tony Manero, Chief Justice]; Kendyl Ito (FB) [Jing]; Austin Ku (FB) [Bobby Bob]; Raymond J. Lee (FB) [Randy Ray, Veep, DHHu/s]; Jaygee Macapugay (FB); Daniel May (FB) [Asst Dance Captain]; Paul Heesang Miller (FB); Kristen Faith Oei (FB); Maria-Christina Oliveras (FB) [Campaign Manager]; and Geena Quintos (FB) [Dance Captain]. Of these, performances that stick in my mind include Ito’s Jing and her singing in the closing number, Lee’s Veep in the gun number, and Ku’s Bobby Bob, who was a hoot.

Swings and understudies were: Kara Guy (FB) [Zoe/Hillaryu/s]; Trevor Salter (FB); and Emily Stillings (FB).

The music in the show had a good sound, although it could use a hint of Chinese flavor in Danny Troob‘s orchestrations. The 22-piece orchestra, under the musical direction of David O (FB), consisted of  Alby Potts (FB) [Assoc Conductor, Keyboard];  Sal Lozano, Joe Stone, Jeff Driskill (FB), and Paul Curtis (FB) [Woodwinds]; Joe Meyer, Kristy Morrell (FB) [French Horns];  Dan Fornero (FB), Rob Schaer (FB) [Trumpets];  Robert Payne [Trombone, Contractor]; Amy WIlkins [Harp]Ken Wild (FB) [Bass]; Ed Smith [Drums]; Matt Ordaz [Percussion];  Jen Choi Fisher (FB[Concertmaster];  Grace Oh (FB), Rebecca Chung, Marisa Kuney (FB), Neel Hammond, and Mark Cargill [Violins]; Diane Gilbert [Viola]; and David Mergen (FB) [Cello]. Alex Harrington was the Associate Music Director. Chris Fenwick was music supervisor.

Finally, turning to the creative and production team. David Zinn‘s scenic design worked well to establish place and mood, although a few aspects were a bit overdone (although that might have been interpretation of the Chinese’s future’s lens). It was supported by Mark Barton‘s lighting and Anita Yavich‘s costumes. The lighting generally worked well to establish time and place; the use of red was particularly well done. Most of the costumes had a suitably Chinese feel to it, although there was one dress for Hillary that struck me as a bit odd. Tom Watson‘s hair and wig design was believable, as was Angelina Avallone‘s makeup. Kai Harada‘s sound design was suitably clear. Other production credits: Joel Goldes [Dialect Coach]; Joy Lanceta Coronel [Dialect Coach]; Steve Rankin [Fight Director]; John Clancy [Dance Arranger]; Heidi Griffiths CSA [Casting]; Kate Murray CSA [Casting]; David Lurie-Perret [Production Stage Manager]; Shelley Miles [Stage Manager]; Ellen Goldberg [Stage Manager]; David S. Franklin [Stage Manager]; Nikki DiLoreto [Assoc. Director]; Sunny Hitt [Assoc. Choreographer]; East-West Players (FB), The Curran (FB), and The Public Theatre (FB) [Assoc Producers].

Soft Power continues at the Ahmanson Theatre (FB) through June 10. Tickets are available through the Ahmanson Box Office.  Discount tickets may be available through Goldstar. This show is clearly a work in progress, and for us, it landed with a thud. Still, it is an interesting attempt, and if you’re into interesting attempts, you might want to see it. Your mileage may vary.

***

Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at 5 Star Theatricals (FB) [the company formerly known as Cabrillo Music Theatre (FB)], the Hollywood Pantages (FB), Actors Co-op (FB), the Chromolume Theatre (FB) in the West Adams district (although, alas, they just announced they are going dark after Fringe), a mini-subscription at the Saroya [the venue formerly known as the Valley Performing Arts Center (VPAC)] (FB), and the Ahmanson Theatre (FB). Through my theatre attendance I have made friends with cast, crew, and producers, but I do strive to not let those relationships color my writing (with one exception: when writing up children’s production, I focus on the positive — one gains nothing except bad karma by raking a child over the coals). I believe in telling you about the shows I see to help you form your opinion; it is up to you to determine the weight you give my writeups.

Upcoming Shows:

Next weekend brings Violet at Actors Co-op (FB).  The last weekend will hopefully bring a Nefesh Mountain concert at Temple Ramat Zion; the weekend itself is currently open.

June — ah, June. That, my friends, is reserved for the Hollywood Fringe Festival (FB), including The Story of My Life from Chromolume Theatre (FB). You can find a detailed discussion of the Fringe schedule here. Right now, it looks like the following:

July will get busier again. It starts with the 50th Anniversary of Gindling Hilltop Camp, followed by On Your Feet at the Hollywood Pantages (FB). The next weekend may bring Jane Eyre The Musical at Chromolume Theatre (FB) [although it is unlikely… Chromolume has announced they lost their lease and are closing, and that their Fringe show will be their last show … and hence, Jane Eyre may not happen and that weekend will be open]. The third weekend in July brings a Bat Mitzvah in Victorville, with Beauty and The Beast at 5 Star Theatricals (FB) that evening. The last weekend may be a Muse/ique (FB) show. August starts with Waitress at the Hollywood Pantages (FB).

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-LemonsMusicals in LA@ This StageFootlights, as well as productions I see on GoldstarLA Stage TixPlays411 or that are sent to me by publicists or the venues themselves. Note: Lastly, want to know how to attend lots of live stuff affordably? Take a look at my post on How to attend Live Theatre on a Budget.

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