Shameful event in history inspires musical, 'Allegiance'

 

Japanese Americans wait for a train headed for a relocation camp. (Scott Lasky photo)

Presented by Palo Alto Players, “Allegiance” is a musical based on one of the most shameful events in American history: the relocation of people of Japanese descent during World War II.

With music and lyrics by Jay Kuo and a book by Kuo, Marc Acito and Lorenzo Thione, it was inspired by the childhood experiences of actor George Takei (Lt.  Sulu on “Star Trek”).

It focuses on a Salinas farm family, the Kimuras, who have only a few days to sell the farm and assemble for transport to the bleak Heart Mountain internment camp in Wyoming after the Pearl Harbor attack in December 1941.

The family includes Sammy (Jomar Martinez) and his older sister, Kei (Marah Sotelo), along with their father, Tatsuo (Bryan Pangilinan), and grandfather, Kaito (Ron Munekawa).

Sammy wants to enlist in the military to prove his patriotism, but is rejected. Later he meets the camp nurse, Hannah Campbell (Corinna Laskin), and falls in love with her.

In the meantime, Kei and Frankie Suzuki (Christopher J. Sotelo) have fallen in love, too.

After Japanese men are allowed to enlist in the 442^nd Regimental Combat Team, Sammy signs up and serves with distinction, but Frankie resists the subsequent draft with Kei’s support. Sammy bitterly rejects them both.

Other characters, both good and not-so-good, are involved.

The show opens and closes in 2001 when Sammy (played by Munekawa as an older man) attends Kei’s funeral and finds he has a chance to forgive and to forge new family ties.

Thoughtfully directed by Vinh G. Nguyen, the mostly Asian, 20-member ensemble cast is excellent with standout performances by Martinez as Sammy, Laskin as Hannah, Marah Sotelo as Kei and Christopher J. Sotelo as Frankie. (The Sotelos are husband and wife.)

At the keyboard, music director Benjamin Belew oversees the talented singers and the six-person orchestra.

Nicole Tung has choreographed the lively dancing, including the jitterbug at a camp dance.

The minimal but effective set is by Skip Epperson with lighting by Edward Hunter.  Sometimes the lyrics are hard to discern in the sound design by Brandie Larkin.

The costumes, hair and makeup are by Y. Sharon Peng.

Running about two hours and 40 minutes with intermission, “Allegiance” is interesting and entertaining despite some slow spots. In some ways, it might work better as a drama rather than a musical, but some songs allow characters to express their inner thoughts.

It will continue through May 8 at the Lucie Stern Theater, 1305 Middlefield Road, Palo Alto. Recorded performances will be available for streaming-on-demand May 5 to 8.

For tickets and information, call (650) 329-0891 or visit www.paplayers.org.

 

 

 

 

Humor, insight in 'I Love You, You're Perfect, Now Change'

Jack O'Reilly and Samantha Rose Cardenas imagine they're "A Stud and a Babe."

“I Love You, You’re Perfect, Now Change” takes a humorous yet insightful look at how relationships change from first date to 30 years of marriage.

Presented by Hillbarn Theatre & Conservatory and adroitly directed by Erica Abrahamson, this musical comedy features four talented actors who portray dozens of characters of varying types and ages in more than 20 scenes, each a self-contained vignette.

Because the characters’ names change from scene to scene, the actors are simply labeled Man #1 (Jack O’Reilly), Man #2 (Keith Pinto), Woman #1 (Samantha Rose Cardenas) and Woman #2 (Hayley Lovegren).

With music by Jimmy Roberts and book and lyrics by Joe DiPietro, the show opens with “Cantata for a First Date” as the four characters get dressed for the date.

The actual date takes place during “Not Tonight, I’m Busy, Busy, Busy” as Pinto and Lovegren decide that a first date is too awkward, so they pretend it’s the second and then the third, when they must decide on sex.

One of the more amusing scenes is “A Stud and a Babe,” in which O’Reilly’s character is actually a nerd and his date, Cardendas, is a frump.

Hayley Lovegren laments that she's "Always a Bridesmaid."

Later, in “Always a Bridesmaid," Lovegren laments that not only is she not getting married, she has to wear ugly dresses.

The way that parenthood changes people is seen in “The Baby Song,” as a married gay couple, Pinto and O’Reilly, who have a new baby, evolve from interesting adults to baby talkers who totally bore a good friend, Cardenas.

Other scenes show a contentious family road trip, two oldsters meeting at a funeral and more.

Each one is funny because it seems so real and because the four actors are so versatile.

Guided by musical director Matthew Mattei, each one also sings well, accompanied by Jon Mattei on a white grand piano and Paula Filseth on violin.

The scenes are divided by quick blackouts when the stage crew, Eric Olson and Adria Olson, moves minimal set pieces (set by Matt Owens with sound and lighting by Ron Ho) in and out, giving the actors time for quick costume changes.

Credit goes to costume designer Ashley Garlick for outfits that are appropriate for the characters.

Suitable for an adult audience only, “I Love You, You’re Perfect, Now Change” runs a fast-moving two hours and 40 minutes with one intermission.

It will continue through May 8 at Hillbarn Theatre, 1285 E. Hillsdale Blvd., Foster City. For tickets and information, call (650) 349-6411, Ext. 2, or visit www.hillbarntheatre.org.

Photos by Mark and Tracy Photography

 

TheatreWorks stages August Wilson's "Gem of the Ocean"

 

Aunt Ester (Greta Oglesby) cleanses the soul of Citizen Barlow (Edward Ewell). (Kevin Berne photo) 

 

TheatreWorks Silicon Valley is staging August Wilson’s “Gem of the Ocean,” the first part of his 10-play chronicle of the 20^th century Black experience.

This one takes place in 1904 in the home of Aunt Ester Tyler in the Hill District of Pittsburgh, where most of the cycle takes place.

Even though slavery was abolished 41 years earlier, Jim Crow laws still oppress Black people, especially in the South. Oppression also is rampant in the mill where many of the Hill District’s Black residents work.

Aunt Ester (Greta Oglesby) is the 285-year-old spiritual adviser to the Black community.

Residing with her are her gatekeeper, Eli (Jerome Preston Bates), and her housekeeper, Black Mary (Porscha Shaw).

Soon to join them is Citizen Barlow (Edward Ewell), a troubled young man recently from Alabama who wants Aunt Ester to wash his soul.

Among their frequent visitors and friends are Solly Two Kings (Kim Sullivan), a former slave who was part of the Underground Railroad, which guided slaves to freedom in Canada; and a white traveling peddler, Rutherford Selig (Dan Hiatt).

Black Mary’s brother, Caesar Wilks (Rodney Hicks), stops by occasionally, but he’s not welcome. The play’s villain, he’s a rigid, by-the-book police officer who looks for any excuse to arrest someone.

This 2003 play is ably directed by Tim Bond, who took over as artistic director two years ago, just as the coronavirus pandemic disrupted everything.

Thus this is his first chance to direct at TheatreWorks, and he has chosen a topnotch cast and artistic team.

Like most of Wilson’s plays, this one is talky, especially in the first act, which moves slowly as it sets the stage for what’s to come. It’s not always easy to follow because the characters’ accents can be hard to understand at times.

On the other hand, the second act is riveting, highlighted by Citizen Barlow’s spiritual journey to the City of Bones. It’s meant to cleanse his soul and to evoke the history of a people who suffered greatly, starting with their terrible voyages from Africa.

This ritualistic scene, presided over by Aunt Ester and aided by Eli, Black Mary and Solly, is mesmerizing with its music and movement reminiscent of a Black church service.

The cast has no weak links, but the standout clearly is Oglesby as Aunt Ester, who’s convincing as the ancient and wise dispenser of relief for troubled souls.

Bond previously directed an impressive production of “Gem of the Ocean” at the Oregon Shakespeare Festival in Ashland, Ore., in 2007, also with Oglesby in the lead.

The set is by William Bloodgood with costumes by Lydia Tanji, dramatic lighting by Lonnie Rafael Alcarez, and music and musical direction by Michael Keck.

Running about two hours and 40 minutes with one intermission, “Gem of the Ocean” will continue through May 1 at the Mountain View Center for the Performing Arts, 500 Castro St., Mountain View.

For tickets and information, call (877) 662-8978 or visit www.theatreworks.org. 

 

 

Family disintegrates in Pulitzer-winning "August: Osage County"

 

The cast features (foreground, from left) Carley Herlihy, Allison F. Rich, (back row, from left) L. Duarte, Michael Ray Wisely and Terrance Smith. (Dave Lepori photo) 

If there were a contest for most dysfunctional American family, the one in Tracy Letts’ “August: Osage County” would win.

Presented by San Jose Stage Company, the play itself is a winner, having garnered the 2008 Pulitzer Prize for drama and five Tony Awards, including best play.

Baring the family’s secrets, the play goes on a grueling journey through addiction, suicide, incest and infidelity, among others. It’s definitely for adults only.

It’s set in the Weston home outside a small town in Oklahoma. As it opens, Beverly Weston (Randall King), a retired teacher and poet, is engaged in a long, drunken monologue about T.S. Eliot.

His audience is Johnna Monevata (L. Duarte), an American Indian woman he is hiring as a housekeeper.

His wife, Violet (Judith Miller), then stumbles in. Suffering from mouth cancer but continuing to smoke, she’s addicted to the prescription drugs she has hidden throughout the house.

In the next scene, Beverly is missing, and some family members have assembled to try to find him.

Once his body is discovered in a nearby lake, presumably because he committed suicide, the rest of the family arrives.

They include Mattie Fae Aiken (Marie Shell), Violet’s sister, and her husband,  Charles Aiken (Tim Kniffin); and their son, Little Charles (Matthew Kropschot).

The Westons’ eldest daughter, Barbara Fordham (Allison F. Rich), is there with her husband, Bill (Michael Ray Wisely), and their 14-year-old daughter, Jean (Carley Herlihy). Barbara and Bill have separated because he’s having an affair with one of his students, but they’re trying to pretend everything is OK.

Another Weston daughter, Karen (Tanya Marie), is an airhead joined by her sleazy fiancé, Steve (Joshua Hollister).

Both Barbara and Karen have moved out of Oklahoma, but their unmarried sister, 44-year-old Ivy (Elena Wright), has stuck around.

As the play continues, the family disintegrates step by step. Secrets and old grievances are revealed, but there are a few humorous moments.

Completing the cast is Sheriff Deon Gilbeau (Terrance Smith), who delivers the news about Beverly.

Miller delivers a tour de force performance as Violet rails against those who would try to control her. And while she may seem addled, she has known about some secrets for years.

Even though Beverly has the opening scene only, King is noteworthy.

Rich also is outstanding as Barbara tries to keep everything together, but over time she becomes more like her mother. The transformation is subtle, often conveyed through facial expressions or body language.

In the end, everyone has left except Johnna, who tries to comfort the confused and self-pitying Violet with the penultimate words from Eliot’s “The Hollow Men”: “This is the way the world ends.” Left unsaid are the final words: “Not with a bang but a whimper.”

Director Kenneth Kelleher lets a few diatribes go over the top, but overall the entire cast is terrific. Johnny Moreno choreographed the fight scenes.

The costumes by Madeline Berger and lighting by Maurice Vercoutere complement the production. Steve Schoenbeck’s sound design leaves some lines difficult to hear, especially in some early scenes.

Running about two hours and 45 minutes with one intermission, “August: Osage County” will continue through April 24 at San Jose Stage Company, 490 S. First St., San Jose.

For tickets and information, visit https://thestage.org/tickets or call (408) 283-7142.