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Los Angeles has had the pleasure of the productions of this Asian American
theater since 1965. For most of their history they operated under an
Actors' Equity waiver, presenting their shows in a 99-seat black box
theater. In 1998, however, they moved into the 240-seat theater in the
burgeoning Little Tokyo area of downtown LA. The theater is on the second
floor in a space that is a bit challenging due to restrictions above and to
the side of the stage: no fly space, very little wing space. But, it appears to
be well equipped with the technical equipment for first class productions.
The company has premiered
over a hundred plays and musicals, each on a theme that fits with the
mission of the company to "give voice to the Asian American experience." They
have employed so many Asian American performers they think that
over 75 percent of the Asian American membership in local acting unions have
worked at the theater, but they also point with pride to the fact that
ethnicity doesn't limit their audiences. They estimate that 44% of their
attendance is non-Asian.
Under Artistic Director Tim
Dang, the company has mounted 25 productions in this new space, including
M. Butterfly by the theater's name sake, David Henry Hwang, works Prince
Gomovilas whose The Theory of
Everything and Big Hunk o' Burnin' Love have also been
produced here in the Potomac Region by Asian Stories in America (ASIA).
Musicals not normally seen with an Asian American cast have been a part of
each season, giving a new look to the works of Sondheim (Passion,
Follies, A Funny Thing Happened on the Way to the Forum) Kander and Ebb
(The World Goes Round) and Alan Menkin (Little Shop of Horrors),
while the latest production of the company is the world premiere of a
musical about the life of Imelda Marcos with an all-Asian American cast.
Here is our review of the production playing at the time of our visit: |
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As a bio-musical of the
wife of the dictator of a former Spanish colony, Imelda can't really
avoid comparison to Evita, but it stands on its own two feet - or in
its own 3,000 pairs of shoes - especially in this, its premiere production.
It doesn't match the theatrical intensity of Tim Rice's Evita and
book writer Sachi Oyama doesn't go to quite the extremes that had Eva Peron
being viewed through the eyes of Che Guevara, but flights of fancy include
the personification of Imelda Marcos' competitors in the beauty contests of
her youth as her "muses." The mod-sounding score, supported by a band of
six, features music by Nathan Wang with Aaron Colman's lyrics. It sets a
tone for the full show that is a tad more ambitious than a straight-out "just
tell the story" approach. This provides both the visual design team and the
choreographer some intriguing material into which to sink their teeth.
Storyline: This bio-musical relates
the rise and fall of
Imelda Romualdez, from loosing beauty queen contestant to winner, wife of
Ferdinand Marcos, the President of the Philippines, and finally exile, widow and object of
derision, known more for her collection of thousands of shoes.
As is often the case with
the first production of a musical, this one drags at times (about two thirds
of the way through the first act), has holes in the development of the story
(just how did Ferdinand Marcos get that old and that ill so quickly?) and
features at least one song that doesn't do much for the show ("A Beautiful
Place.") The
production does, however, have a satisfying look to it. Opening at first
with a projection of a butterfly (a reference to Imelda's derisive nickname
"The Iron Butterfly,") the show continues through a danced survey of the
history of the Philippines from native legends through the overthrow
of Spanish rule, which may be choreographer Reggie Lee's most
impressive work. This is
followed by a scene that shows off costume
designer Ivy Chou's inventive work.
The score ranges from
percussion-infused dance material ("The Origin of the Philippines" and "Maharlika")
to rock tinged show tunes ("3,000 Pairs of Shoes,") soaring declamations
("If I Had Raised the Butterfly") and a ballad that attempts but doesn't
quite achieve the spell of "Don't Cry for Me Argentina" ("Forever Part of
You.") Each features lyrics that get their point over efficiently and
melodic structures that serve the scenes even though few will stay in the
mind without repeated listening.
A gifted and energetic cast
works very hard to put this show over and it works. Liza Del Mundo and
Giovanni Ortega make a believable pair as President Marcos and his
beauty-queen First Lady, and Antoine Reynaldo Diel lets his voice soar over
the entire house as Imelda's friend who rose to be a Senator only to be
assassinated when he had the temerity to run for President. His'" See What I
See" is a highlight.
Music by Nathan Wang. Lyrics
by Aaron Coleman. Book by Sachi Oyama. Directed by Tim Dang. Musical
Direction by Nathan Wang. Choreography by Reggie Lee. Design: Victoria
Petrovich (set and projections) Ivy Chou (costumes) Ken Takemoto
(properties) Jerry M. Sonnenberg (lights) Nathan Wang (sound) Robert "Bobby"
Fromer (stage manger). Cast: Rinabeth Apostol, Louise Marie Cornillez, Evan
D'Angeles, Liza Del Mundo, M.J. Deocariza, Antoine Reynaldo Diel, Ramona
DuBarry, Bryan Geli, Golda Inquito, Marc Macalintal, Blythe Matsui, Myra
Cris Ocenar, Giovanni Ortega, Michael C. Palma, Theresa Pedrena, Annie
Katsura Rollins.
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