1967. The auspicious beginnings of a new political identity called Asian American, as a young literary hippie named Frank essays an inscrutable Chinese detective. A harmless sing-song orientalist minstrel show that ENDS IN A GROTESQUE CARNIVAL OF MURDER!!!
As [the character] Frank explains, trying to explore “our entire cultural identity politic through a grotesque carnival of murder” gets pretty complicated. Well, he shrugs, maybe that’s just “the price of revolution.” For a play this antic and impassioned, pay it.
Alexis Soloski: New York Times
It’s an effervescent entertainment that weaves together multiple narrative lines. Under the high velocity direction of Ed Sylvanus Iskandar, it has the verve of improv, the imaginative variety of sketch comedy, and the ideological passion of agitprop.
If Chan’s show is a grand commentary on racism, Suh’s is a grand commentary about grand commentaries on racism, and a smart one at that. He’s well-versed in the ideas and academic lingo of social movements, and, impressively, is capable of communicating them in a way that neither overwhelms nor condescends. Who knew critical race theory could be so entertaining?
Set Design: Jason Sherwood Costume Design: Loren Shaw Lighting Design: Seth Reiser Sound Design: Jeremy S. Bloom Projections: Olivia Sebesky Composer and Musical Director: Alan Schmuckler Dramaturg: Kimber Lee Fight Choreographer: Qui Nguyen Props Supervisor: Samantha Shoffner Stage Manager: Andrea Jess Berkey Assistant Stage Manager: Jessica Edwards Mandarin Coach: William Yueken Wu Postcard Design: Kate Katigbak Press Representative: David Gersten & Associates Associate Producer: Peter Kim Production Manager: Chip Rodgers Technical Director: Jonathan Huggins Production Intern: Daniel Kovic Assistant Musical Director: Isabella Dawis Assistant to the Director/Management Intern: Francesca Davis
