Reviewed by Bert Wechsler
taken from NYTheatre-wire

PAN ASIAN REP IN A NEW MUSICAL

Shanghai Lil's
Presented by the Pan Asian Repertory Theatre
St.Clement's Church, 423 West 46 Street
April 22-May 10
Wed.-Sat. 8pm. Wed, and Sat. 2pm, school matinees Tues. and Thurs. 11:30am
212-245-2660
$30 with discounts for students, seniors, theater professionals
reviewed by Bert Wechsler, April 25, 1997

The Pan Asian Repertory Theatre is celebrating its 20th season, venerable in itself, and it's latest production is worth a huzzah. At least half of it, a huz?

Act Two of Lilah Kan and Louis Stewart's musical Shanghai Lil's is as masterful as any around but Act One almost sends one home. Anything that could be wrong with "Hey, let's make a show" is wrong with Act One, but Kan's book does create characterizations here that she can rest on and use unerringly in Act Two. After intermission everything comes together: book, lyrics (Kan's), music (Stewart's), acting, singing, dancing. See this show for Act Two which is both touching and wise.

This is a story of Chinese-Americans and one young Japanese-American on the verge of World War II until the war's conclusion. The eight-member cast is personable and gifted, director-choreographer Tisa Chang uses them all to advantage. Most original is a ballet-Tai Chi pas de deux that makes one see their equal beauty.

Jeanne Sakata is Lil, a widow who takes over her husband's local Chinese restaurant in San Francisco and oversees its transformation first from a talent show venue to a night club. She has a small singing voice but her warmth is immense. Steven Eng is one of the finest young actors I've seen and his talent is augmented by his charm, often lacking in the young. He also has a voice. This is an award-winning performance.

Age difference love affairs is personified by Susan Anchetta. Before she is won over by the younger Eng she has a gamut of acting and dancing that she conquers easily. Mimosa plays the 17-year-old Japanese-American in an individual and winning manner. Emy Coligado and Maria E. Aggabao play two young Chinese-Americans nicely. They join with Mimosa in close harmony musical numbers and a tap routine. Timothy Huang is the only actor who makes his fine impression in Act One which is a good thing as he is killed off early in Act Two. We miss him. Matt Hyland, the only Caucasian in the story, is the warm center of it.

As I've noted, Kan's book and lyrics and Stewart's engaging music reach ripe maturity in Act Two. There are two ensemble numbers that one would not expect in a musical. Chang's direction and choreography show off her actors, make the plot's points and let her players move. The sets of Robert Klinghoefer use the space well and have some original ideas of their own. Stephen Petrilli's costumes add to believability. Production values were respected by all and balloons descended on everybody when the war ends, a happy touch.

I cannot explain the disparate levels of the two acts of Shanghai Lil's but there you have it. Act Two is so good, however, that I can unqualifiedly urge you to hie thyself over to St. Clement's and see the show. [Wex]

Copyright © Bert Wechsler l997

ONE WOMAN'S MANY PROBLEMS

Between Life and Death
February 20 to March 9, Theater for the New City (Cino Theater), 155 First Ave. (a E. 10 St. )
Presented by Blue Heron Theatre and Yangtze Repertory Theatre of America
8:00 pm Wed - Sat, 3:00 pm Sundays, 2:00 pm added matinee Saturday March 7
$15/tdf: $10 seniors and students
(212) 332-0027 (English), (212)889-9332 (Chinese)
Group Sales (212) 580-3019
reviewed by Bert Wechsler, February 22, 1997

Between Life and Death is a 70 minute mad scene, music added by the voice of actress Eleonora Kihlberg. It is the work of Gao Xingjian, a Chinese living in France who also directed. The fluid English translation is by Joanna Chen, artistic director of the Yangtze Repertory Theatre.

It is a monologue of a woman pushed past it, by herself. She has an unresponsive husband and she begins from there. How much is real or imaginary or dreamed or remembered is unimportant. She has had it. Even the infinite wisdom Uddha Buddha turns on her. Kihlberg begins the evening as if she were beginning "Tristan and Isolde," in full fury. There is no building up, the fury was developed before we meet her. It is in her whole body.

She gives a bravura performance as she orchestrates her voice, her pronunciation, her diction. She suffers through every word and we understand every word. They are torn from her. And Gao's words are literate, not literary. A more mature actress may be able to give the character more believability, just from age, but for a young actress, Kihlberg gives a super demonstration.

Two other performers share the stage at various intervals. Bin-Jung Lee is an eerie mime, superbly controlled, as the husband and other figures. He also choreographed the weakly balletic dance for lovely Mari Yeh, who nonetheless carried it off as she easily personified a range of roles from that smiling teen-age dancer to a nude vengeful Buddha and an evil spirit. Yeh is an actress as well as a dancer. Two black-robed prop movers are also on the stage.

I should like to see all three performing members of the cast again.

It may have been a mistake to try to Westernize the monologue. While universal, it is Eastern in thought and action and should have remained Eastern.

"Between Life and Death" should be seen. [Wex]

Copyright © Bert Wechsler l997

THE YANGTZE ON THE HUDSON

The Sound of a Voice be David Henry Hwang and
The Eternal Game by Wang Wei-Zhong
Presented by Yangtze Repertory Theater at Theater for the New City, 155 First Avenue
November 21 to 24
reviewed by Bert Wechsler November 23, 1996

Joanna Chan's Yangtze Repertory Theatre of America took over the Johnson Theatre of the Theatre for the New City and presented two one act plays, most imaginatively paired. The first, David Henry Hwang's The Sound of a Voice, takes place in Japan, spoken in English with Chinese subtitles; the second was Wang wei-Zhong's The Eternal Game, set in China, spoken in Mandarin with English subtitles.

Something for everyone? well, almost. This Westerner preferred the former play, a mystery tale of a woman alone, perhaps a witch, and a visitor. It's weakness was in the nine scenes (it seemed like more) separated by too many blackouts which eventually loomed more importantly than the scenes themselves did; it's strength was Jolie Hatsuko Madigan's arresting acting as the woman.

She began with a strange delivery of her lines which she soon made real, coupled with striking original body movement. Madigan simply made the play. Phillip Baltazar, as the almost equally strange visitor, is a presence and a voice, but the role is one or simplicity. Is he really a dupe?

The Eternal Game is a legend of old China and the world, a hero who compromises his values to serve a master. Galileo comes to mind, Brecht's or his own. This was a puzzlement (I know that's Thai). The long role of General Han-xin was played by Lu Yu, a veteran of La Mama and other producing companies here and abroad. Unfortunately his was not a strong impersonation, looking like an insurance agent and acting perhaps like a broker. The play is a virtual monologue for him and I believe be was miscast.

Steven Zhang as the King is the one who impressed. From his first appearance he gave us the character of a weak, scheming, opportunistic man of ultimate power even when threatened or defeated by his enemies. His King was always unbowed and his power over General San was unguestioned. Young Yat-De, a fine universal character actor, played several roles with ethniticity not a question. Cute as a button was Mari Horuichi in many guises, androgynous and male. Many actors played many roles, perhaps too many for the story.

The company overall has superb production values. Christopher Thomas' set for the evening was vaulting and atmospheric, more germane in Voice; Woohyung Lee's lighting always pointed up the action; and Cha-lee Chan's choreography added, never distracted in Game.

Lucia Hwong's music fit superbly.

Joanna Chen's direction was clear, uncluttered, exact, and always intelligent. When she used stylistic movement, it was to advantage. Her pan-Asian Yangtze Repertory Company of America is a vital element of New York's theatre scene. It deserves support and we eagerly await its next production, scheduled for Feb./March 1997.

Copyright © 1996 Bert Wechsler

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