THEATER REVIEW:
'Mikado' gets a delightful twist

Since most of us regular folks don't live within the world of the arts, the story behind the story holds its own degree of curiosity. And sometimes it's more dramatic than the actual production.

With its world premiere of "The Mikado Project" at Grove Theater Center in Burbank, the Lodestone Theatre Ensemble presents a funny and entertaining twist on the challenges occurring behind the scenes, mixing elements of the original Gilbert and Sullivan operetta with lots of humorous revisions.

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While Teddy (Kennedy Kabasares) is auditioning for Lance (Allen C. Liu) to join the theater company, he's interrupted by Cheryl (Blythe Matsui), who declares her disgust for the play that's been proposed. Her major complaint is that it was written more than 100 years ago by Caucasian British males, is degrading to women and perpetuates negative stereotypes of Asians.

Lance's concern is to get a show produced because the grant money they've been given will expire soon and someone from the foundation is coming in two days to review their progress on the project. The other company members, Viola (Erin Quill), her sometime boyfriend Ben (Ronald M. Banks) and Terri (Julia Cho) are reluctant, but will go along with the concept if it's updated to reflect more contemporary issues.

With unrestrained imagination and even fewer boundaries, they create a very modern reworking that presents Mikado Enterprises as a huge corporation that's slated for some nasty downsizing. A letter that once would have been hand-delivered becomes an e-mail message on a BlackBerry. The "A Wandering Minstrel, I" is sung to a rap beat with some nasty hip grinding and the "Three Little Maids" learned a few things that no seminary in the original would have dared to teach.

Their burst of creativity is thrown for a loop when the site visitor turns out to be Jace (Feodor Chin), a former member who suddenly left the group when he got a big break on a television show. His oversized ego and bravura compel him to suggest changes that would make him the star of the play, resurrecting lots of deep resentment. The group needs to decide what matters most — their finances, survival or integrity.

The blending of classic and modern is handled very well with seamless transitions between the original play and their new version. The authors have come up with a sharp script that allows us to witness the boundaries of artistic expression. The characters have depth and emotion, bound together not just by their passions and rampant "hornyosity" as described by Ben, but by mutual respect. As an ensemble piece, there really were no standouts among the actors, and all of them carried their weight equally through story and song.

The music that is borrowed from the original and also satirically modernized enhances the changing moods. When they poke fun at their heritage and the absurdity of what outsiders perceive as standard Asian choreography of dragons and pinwheels, the joke works very well. The overuse of fans throughout makes it all the more hilarious.

Being familiar with the original "Mikado" is not required, but will definitely enhance your enjoyment of the proceedings. And even though the name and character of Yum-Yum may conjure up several negative connotations, the simple definition of "delightful" is an appropriate description of the show.

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PHILLIP HAIN is a Glendale resident who enjoys attending theatrical productions.

THE MIKADO PROJECT A small Asian-American theater company is trying to find a way to stage a modern version of The Mikado: A less sexist version, a queer version, a version that takes all the cultural stereotypes of Asians and inverts them. It includes a brilliant rewriting of Gilbert and Sullivan's "As Some Day It May Happen" (from The Mikado's Act 1), which will target the role of Asian-Americans in the entertainment industry ("But it doesn't really matter/From New York or from L.A./You won't work anyway") and "Three Little Maids From School" featuring gals snorting coke and taking pictures with their digital cameras. These hilarious, pointed songs beg an obvious question: Why The Mikado Project and not simply an update of The Mikado? Why a play about a fictitious theater company producing the update? For the entire first act, playwrights Doris Baizley and Ken Narasaki spell out the intentions of their conceit rather than letting the audience draw its own conclusions. However, as the play develops more depth and fewer rants, it becomes clear, under Chil Kong's direction, that the piece is concerned with doing more than replacing old stereotypes with new ones. It aims instead to flesh them out into multidimensional characters who carry with them the nuances of their lives, and who might not have survived within Gilbert and Sullivan's framework, no matter how updated. Lodestone Theatre Ensemble at GTC BURBANK (in George Izay Park), 1111-B W. Olive Ave., Burbank; Fri.-Sat., 8 p.m.; Sun., 3 p.m.; thru May 20. (323) 993-7245. (Alexis Roblan)

Cast has a blast with 'Mikado'

"The Mikado Project," Doris Baizley and Ken Narasaki's world premiere musical, presented by Lodestone Theatre Ensemble at GTC Burbank, makes serious points about cultural stereotypes and the endemic racism of certain classics, in this case "The Mikado." However, the play's political context is sugar-coated subtext to what is, first and foremost, solid entertainment of a charmingly wacky stripe.

The action takes us backstage at a small Asian American theater company that is running out of cash and may be forced to close. Artistic director Lance (humorous Allen C. Liu), a dedicated fussbudget who lives for his theater, hopes that a radically contemporized production of Gilbert and Sullivan's "colonialist" classic will revive his company's fortunes.

It's a slight but serviceable concept that yields a plethora of barbed parody lyrics and plenty of fun that this cheekily ebullient cast is obviously happy to share. Director Chil Kong keeps the proceedings convincingly spontaneous, lending a warm and inclusive air to the production.

Don't let the apparent offhandedness fool you. Under the casualness lies an impressive stringency, both in Kong's staging and in Dennis Yen's musical direction. The winning cast includes Kennedy Kabasares, Blythe Matsui, Erin Quill, Julia Cho and Feodor Chin. Ronald M. Banks, memorable for his eponymous turn in East West Players' recent production of "Sweeney Todd," is a particular standout, an accomplished actor-singer whose casually funny manner is a pleasant surprise, particularly in light of his bitterly virtuosic previous portrayal.

— F. Kathleen Foley

Well, the reviews have been excellent and the feedback has been fantastic. It's kind of unseemly to brag, but I did just want to write down two things that people have said that I thought were particularly special:

From Taiji, the husband of a friend: "You know, I saw THE MIKADO when I was a kid and it just left this feeling inside me (he hunches his shoulders and grimaces) and I didn't even know it was still inside me, until I saw the play today, and I felt like you guys just kicked the shit out of that thing, that rage, that FEELING. You know?"

Yes, I do.

From Roger Aaron Brown, probably best known for his long time role on THE DISTRICT, but an African American actor who used to work with East West Players a lot, especially in the old days, when there were on Santa Monica Blvd: "Mako's smiling."

(from Ken Narasaki)

How I "Came Out" to My Mother

My character "Terri" is bi-curious. And y'all know what that means-- she just can't admit she's a full-on lesbian . . . yet. In the course of the show, "Terri" shares a kiss with "Cheryl," the object of her unadmitted affection. There's also some suggestive dancing and several instances of underwear-flashing. Overall, a LOT to go over with my mom before she comes to see the show.

In her defense, my mom is totally awesome and incredibly openminded, especially compared to other Korean parents of her generation. i had several conversations with my sister, Jane about how to approach our mother with the aforementioned aspects of the show. i was in another show a while back where the whole cast had to strip down to our underwear. My sister and i agreed, "This is definitely worse than the underwear."

i had such a hard time trying to plan the right time and place to talk with my mom, it was as if i were actually planning on "coming out" to her! i can't even imagine what it would be like if i really WERE gay. This was hard enough! And i only PLAY gay!

So last week, i found myself in the kitchen with my mom. 'This is it,' i thought. My mom once again mentioned she wanted to invite people from church to come see my show (she's very Catholic). Every time she asked me to leave extra postcards behind, i would always "forget." When she brought it up this time, i decided to use it to my advantage.

[The following conversation was in Korean, but words in quotation marks were said in English.]

ME: (hesitantly) Oh, well . . . there's some "sexy" [sek-shi] dancing in the show. Do you think church people will be okay with that?

MOM: Oh yeah. That's fine.

ME: Well, you know, i have to play a "lesbian." Do you think church people will be okay with that?

MOM: (split-second pause) Of course. They have to understand. You're just acting. It's theatre.

Things were going well! And then i just couldn't bring myself to tell her i also have to kiss another woman. i should've! But i didn't.

As the days went by, time was running out. A few days ago, i was talking to my sister on the phone again. i admitted to her that my biggest problem actually wasn't having to tell our mother that i have to kiss another woman, but the possibility that that would lead to her asking me whether i've kissed a boy and prying further into my personal life. i mean, my mom doesn't think i've ever kissed a boy. Even if she does, she won't admit it to herself. So i tell my sister, "i don't want to open a can of worms--" And that apparently sets her off:

JANE: 'Can of worms'?? Wait, what do you mean? Are you a lesbian??

ME: (laughing) No, i'm not a lesbian! I've been with Chris [my boyfriend] for a year-and-a-half.

JANE: (relieved) Oh okay, i just wasn't sure what you meant by 'can of worms' . . .

Geez! So after we got over that, she offered to call mom and tell her for me. Which she did. She called me back and apparently this was how the conversation went:

[The following conversation was in Korean, but words in quotation marks were said in English.]

JANE: Mom, you know Julia has to play a "lesbian."

MOM: Oh yeah, I know.

JANE: You know she also has to kiss another woman.

MOM: Oh no! She's never even kissed a boy and now she has to kiss a woman. Poor thing . . .

Then they talked about how the subject matter of projects i get involved with will sometimes be racy, especially as i get older.

MOM: Well, it's important for her to do these things to "improve" and "envelope"--

JANE: "You mean, DE-velop?"

MOM: "Uh huh, and improve."

Isn't my mom totally awesome???

9 April 2007

Subject: TECH WEEK!! AAAAH!

So, the cast and crew has survived what is known in
the theater world as "tech week," which is also known
as "hell week."  It is usually the week before
previews, where all the elements of the play – actors,
props, set, lights and sound – come together to
collide in a huge fireball of confusion, and
hopefully, by opening night, everything is ironed out
and running smoothly.  It's also the week where recent
ex-smokers become temporary smokers.  And everyone
wants to go to a bar when it's all done.

For me, the scariest thing is costumes and personal
props.  My biggest fear when I'm doing a show is not
messing up lines.  It's not having enough time to make
a costume change, or not putting a prop in the right
place.  It can really derail a scene, or even a plot
line.

Anyway, to my surprise, this show's tech week has been
relatively smooth.  It was long, sure.  Tiring, hell
yeah.  Some of the cast (including myself) tried to
find brief moments to snooze in the audience seats
when we weren't needed.  Our crew (Chris, Angie,
Juliet, and Dennis) NEVER sleep.

Depending on the show, tech week can be hellacious,
equivalent to a root canal.  Theater people know it's
going to be painful, but you gotta do it.  But for
this play, the hardest part is synching all the light
and sound cues, especially since we have musical
numbers.  By nature, musical numbers increase the
number of tech cues, and timing has to be laser
precise, and our crew has been exceptionally on top of
things.

I also must mention how much of a dedicated team the
whole cast and crew have been.  Being a non-profit
organization, Lodestone doesn't have all the resources
or luxuries of theaters with bigger budgets.  In big
budget productions, everything is taken care of by a
dedicated "department".   There is a crew for
EVERYTHING.  Sets, props, lights, stage management,
costumes, publicity…they all have their own staff.  

But when you work in smaller-budget productions,
everyone is expected to pitch in somehow.  And on
Sunday, that was truly evidenced by everyone, and I
mean everyone, taking up their break time to "spruce
up" the theater.  Vacuuming, washing dishes, cleaning
the bathrooms, sweeping the stage, fixing set pieces,
DUSTING THE DRESSING ROOMS, for crap sake!  Yes,
everyone, all the cast and crew, pitched in.  Which
really showed how much of a team we've become.  We all
did it because, hell, that's the way it's done in
theater.

The show's in pretty good shape, so I have no worries
about opening (KNOCKING ON WOOD).  Should be fun.


thankyouverymuchiloveyougoodbye!
Kennedy Kabasares
"I want the life you think I have" - Dave Navarro

LOS ANGELES, CA –Following on the heels of its successful production of the comedy Telemongol, the award-winning theatre company continues its eighth season with an original play by Doris Baizley and Ken Narasaki. Directed by Lodestone's Co-Artistic Director Chil Kong, the show will run at the GTC Burbank (1111-B West Olive Ave., Burbank, CA 91506), located inside George Izay Park. The Mikado Project runs six weeks, opening on Saturday, April 14 and closing on Sunday, May 20, 2007.

Lodestone's first musical production, The Mikado Project follows a struggling Asian American theater company as it tries to create its own deconstructed, politicized version of Gilbert and Sullivan's classic "Japanese" musical The Mikado, while dealing with grant deadlines, interpersonal problems, sexual/political issues and an ex-lead actor-turned-TV star-turned-has-been.

The Mikado Project stars Allen C. Liu - just off his recent National Tour and Broadway Revival of Flower Drum Song - as Lance, the Artistic Director of the Asian American theater company who is inspired to produce the first ever all Asian American production of The Mikado. Veteran actor Ronald M. Banks – who most recently received the 2006 Garland Awards Honorable Mention for his portrayal of Sweeney in East West Players' Sweeney Todd - joins the cast as Ben. Erin Quill also joins the "company" as Viola – fresh from the Original Broadway cast of Avenue Q. The rest of the cast include: Blythe Matsui as Cheryl, Kennedy Kabasares as Teddy, Julia Cho as Terry and Feodor Chin as Jace.

"When I get two strong and conflicting thoughts at the same time I usually suspect there's a play coming," explains co-writer Baizley. "That happened after I saw and loved Topsy Turvy, Mike Leigh's movie about the first production of The Mikado. I'd been working with many terrific Asian American actors and writers and I thought: How awful, I can't love The Mikado anymore. I started imagining a politically correct version I could write with someone who knows the Asian American theatre scene from the inside – and that's when Ken Narasaki walked right into my trap.

"Narasaki didn't need much convincing to come on board as a collaborator. "I've always wanted to write some kind of valentineto our particular brand of theatre, because I think it takes a particular kind of person to fall in love with the idea and ideals of ethnic theatre," Narasaki says. "When Doris Baizley approached me with this idea - How could anyone do The Mikado in this day and age without being totally gross? - I realized that this was the perfect play on which to pin our valentine."

Doris Baizley is a playwright whose work includes the plays Shiloh Rules, Mrs. California and her adaptation of A Christmas Carol. Her plays have premiered in regional theatres all across the country including the Mark Taper Forum, ACT Seattle and the Alabama Shakespeare Festival. Her new play Sexting opens at the Salt Lake Acting Company in February 2007.

Ken Narasaki started his career as an actor thirty years ago before moving into writing. As a writer, his first play Ghosts and Baggage was produced at Los Angeles Theatre Center, and his Innocent When You Dream has had staged readings at East West Players, Pan Asian Rep, Mu Performing Arts, San Diego Asian American Repertory and won the 2006 Kumu Kahua Pacific Rim Playwrights Award.

Performances for The Mikado Project are Fridays and Saturdays at 8 pm, Sundays at 3 pm., April 14 – May 20, with special low-priced previews on April 12 and 13. Tickets are $15 for general admission, $13 for students and seniors. Group rates of $11 each are available for reservations of ten or more. Tickets for the April 14th Opening Night Gala with a post-show reception are $25. All Sunday matinees (except May 20) will be pay-what-you-can admission with a $1 minimum.

For more information, call the Lodestone Theatre Ensemble hotline at (323) 993-7245 or visit www.lodestonetheatre.org or www.myspace.com/themikadoproject

Founded in 1999 by Philip W. Chung, Alexandra Chun, Chil Kong and Tim Lounibos, Lodestone is committed to providing a forum for Asian American artists in all aspects of the theatre arts. It seeks to challenge limited perceptions of Asian Americans through the creation of original theatrical productions as well as a fresh retelling of established works. Lodestone Theatre Ensemble is a Company-in-Residence at GTC Burbank.

"Me Against the Music"

Whenever I tell a friend about this new show I'm in, I usually end with, "It's a MUSICAL!" accompanied by a 'can-you-believe-it?-i-know-crazy-right?' look.

I am not a trained singer. Unless you consider my "performances" on Karaoke Revolution: American Idol as vocal training.

I am not a trained dancer. Unless you consider my post-college clubbing phase as dance training.

So how did I end up getting cast in a musical, you ask?

I wish I knew. I guess my charming personality really came through. (That was a joke. In case the sarcasm didn't come through.)

I came into the rehearsal process both ecstatic and terrified. Looking back, I think I came into it ready to sabotage myself. Because I came in so self-conscious, already assuming I was going to be below average, that I wasn't going to be good enough, that I was going to fail. I recognize and accept my shortcomings as a singer/dancer, but I've only recently said to myself, 'Hey, self? GET OVER IT.'

Here's a little incident that happened at the last rehearsal (Warning: Paraphrasing ahead):

After running the "Gentlemen of Japan" number several times, I ask Chil: "Was that your injured foot I kept stepping on?" (That sounds even more ridiculous when taken out of context.)

Chil just nods and gives me this pained smile.

Michaelkuya says, "Nice knowing you, Julia--"

I freak out and try to make a joke by deflecting blame: "It's [Rodney's] choreography--!"

To which Rodney quips, "It's YO dancing!"

And then I just put my head down and replied with, "It's true." Because it is.

But as my character Terri would say, "What-EVER." From now on, I will stop making excuses and feeling sorry for myself. I will embrace musical theatre performer self. I AM IN IT TO WIN IT. That's right, y'all!

Many thanks to Rodney and his "chores," everyone involved for all their hard work, and a very special thanks to the powers that be who have allowed me to be a part of this production. Because honestly, when else would I get to be in a musical??? I wouldn't even audition for one! But here I am, and I hope it all pays off in the end. And if not, I can always say, "Hey, I'm just an actor!"

Hey, Dorie and I are going to be on Prince Gomolvilas' Bamboo Nation podcast, talking about The Mikado Project. I'm not sure when he'll be podcasting us - I forgot to ask - but I think he puts 'em up pretty quick, so it'll be up soon. We'll be on for two twelve-minute segments, first talking about general Asian Americana and the second segment, we'll be talking about the glory that is The Mikado Project. Prince is probably best known to Asian American audiences for THE THEORY OF EVERYTHING and BIG HUNK O' BURNING LOVE (he's got the best titles), though he's been doing all kinds of new stuff, mostly up in the Bay Area, and he also wrote one of the funniest plays I've ever read, called BOYZ OF ALL NATIONS - a musical about a multi-racial boy band that had me laughing out loud, and jammed at least one song in my head: "We are the BOOOOYYYZZ...We are the Boyz of All Nations...!". Anyway, he's a great writer and a great human being, and tomorrow, we go to his place in Glendale to podcast. It's an adventure! Wish us luck! Oh, you can find his podcast on iTunes or here: http://bamboonation.mypodcast.com/

Our original choreographer was hired to do a really good paying gig that takes him away from Los Angeles, so, sadly, he can't work on The Mikado Project.  BUT, cast member Rodney To, a fabulous choreographer in his own right, has taken over his duties.  And, I must say, he has been doing a kick ass job.  His choreography is fun, sexy, has a sense of humor, and is very much in line with the message of The Mikado Project.  I can't wait to see the "Three Little Maids" number with full lighting and costumes.  He's really doing an amazing job.

Speaking of kicking ass, let's talk about my once-growing cold.  Originally, I was afraid of it getting out of control, but as of today, I am proclaiming that I AM ONE HEALTHY MOTHERF***ER!

Cold germs, I'm talking to YOU.  Me and my body KICKED YOUR ASS.  You bitches thought you could take me down, but, sadly, you were wrong.  You were very wrong.

I just want to let you know that my cells know what you look like, so don't even bother coming back.  And tell any other strains of cold germs that they can just step the hell off, cuz we're gonna kick your asses too.  You cold germs are a bunch of dumb-ass PUNKS, and I think we schooled you good.

Remember the time when you first thought you could take me down?  Remember?  And you were all "Let's make him all congested!  Let's make his nose runny!"  HA!  Take your sorry asses back to the germ village and cry as you recount the story of when Kennedy Kabasares kicked your weak asses.  I hope you liked the Purel bath I gave you.  Bitches.