‘SOFT POWER’: A BIG AMERICAN-STYLE SHOW

REVIEW: SOFT POWER

BY RYAN M. LUÉVANO

To commemorate Center Theatre Group’s 50th anniversary season, Artistic Director Michael Ritchie commissioned playwright David Henry Hwang (M. Butterfly) to write a piece of theatre, that piece is Soft Power [soft pow·er (noun)a persuasive approach to international relations, typically involving the use of cultural influence]. What originally began as a play has morphed into what it is now a “play with a musical”, complete with a 22-piece orchestra and music by Tony Award winning composer Jeanine Tesori (Fun Home).

Conrad Ricamora and Francis Jue. Photo by Craig Schwartz.

This is an ambitious piece of theatre that aims to tackle a myriad of issues while using a hybrid form of theatre as its “delivery system” (to quote a term from the show). Additionally, this production at Center Theatre Group is technically an out-of-town-tryout that plans on moving to Curran Theater in San Francisco in June—kudos for the producers for mounting an out-of-town-try-out in a big city like L.A. at the renowned Ahmanson theatre.

The concept and plot (using that term loosely) of Soft Power is tricky to put into words, which is one of the first challenges of the piece. Based on the show’s current marketing, audiences are expecting to walk into a drama, but once the piece gets going it’s more of a musical dramady. . . allow me to explain.

Conrad Ricamora and Kendyl. Photo by Craig Schwartz.

PART I: Is a 30-minute play that takes place in 2016 before the election. This play concerns Asian American writer named DHH — David Henry Hwang — (played by Francis Jue) who is meeting with a Chinese producer, Xua Xing (played by Conrad Ricamora) about creating a “Sex and the City”-style television show filmed in China. Meanwhile the Xua Xing is grappling with his affair with a younger American woman. The two attend a production of “The King and I” at the Music Center. There Xua Xing meets candidate Hillary Clinton. Weeks later DHH is stabbed in the neck near his Brooklyn home. Bleeding heavily, DHH staggers to a hospital and passes out.

PART II: This is where it gets interesting. Alla The Wizard of Oz we are transported into an fantasy relaying similar plot points from the play but as a Chinese musical. This section is set 100 years in the future as Chinese are marking the 50th anniversary of this beloved Chinese musical about their impressions of American pop culture—reverse racism at its finest.

L-R: Francis Jue, Conrad Ricamora, Austin Ku, Raymond J. Lee, Jaygee Macapugay, Billy Bustamante, Alyse Alan Louis (center), Maria-Christina Oliveras, Geena Quintos, Paul HeeSang Miller, Jon Hoche, Kristen Faith Oei, Daniel May and Kendyl. Photo by Craig Schwartz.

In this musical romp we get a smorgasbord of over the top farcical numbers such as: a Hollywood song featuring rap interludes intermixed with dialogue; a massive dance number sung by Hilary Clinton (played by Alyse Alan Louis) reminiscent of the Music Man’s “Ya Got Trouble” (“Ya Got Problems” in Soft Power) that takes place at a lavish McDonald’s featuring Sam Pinkleton’s sizzling choreography that includes swing, ballroom, kick lines, tap, pop and twerking—Spamalot on steroids, with Louis dazzling us from start to finish. There’s even a duet by Ricamora and Louis that parodies The Sound of Music’s “Do-Re-Me”, but here about learning to say Xua Xing with proper Chinese tones. There’s also a song about the America voting process that again roams in Music Man territory—School House Rock musical theatre edition. The musical also concludes with DHH being stabbed in the neck.

PART III [ACT II]

After a brief dialogue scene depicting a panel on a Chinese television network praising Soft Power as the world’s most beloved piece of musical theatre, we’re back into the Chinese musical. The second act continues in the same fashion as the first act with hyperbolic pastiche numbers, one of the best of which is the torch song sung by Louis as Hillary Clinton feels sorry for herself after the election. Louis knows how to milk these over the top numbers for everything they’ve got—a stellar voice with pinpoint comedic timing and a breadth of musical styles in her back pocket. At the end of the show the timeline gets shifted one last time as the cast breaks the fourth wall and performs the final number in street clothes proclaiming their belief in democracy.

L-R: Raymond J. Lee, Jaygee Macapugay, Austin Ku, Kendyl. Photo by Craig Schwartz.

As you can see, there’s a great deal happening in Soft Power and even more social commentary than anyone can keep track of; however, given the current political climate of our nation there’s nothing wrong with politically driven theatre. The complication here lies in its convoluted “play with a musical”/“American-Style Musical” delivery system, a dramatic conceit for which tonal problems arise at every turn. Simply put, as a play it’s incomplete and too scattered to make sense; and as a musical it’s inauthentic choosing spectacle over character driven storytelling.

There’s a play in there somewhere, a musical too, but together they compete too much to form a cohesive whole. One possible solution: make it clear to audiences that it’s parody, omit the play elements, condense others into song, and make the characters come to life in the song—musical theatre parody shows are en vogue, Soft Power could be a 90-minute musical with an important message that is not muddied on the desire to reinvent the form.

The cast of the world premiere “Soft Power”. Photo by Craig Schwartz.

WHAT ABOUT THE MUSIC DIRECTOR?

David O. leads the full-size orchestra in Tesori’s diverse score with grace and conviction. With so many moving parts and completely original material both the cast and the orchestra give a performance that feels comfortable and exciting.

Only time will tell where Soft Power goes next, after all this production at the Ahmanson is technically only a preview. Nevertheless, in its current state the piece has much to offer: a hilarious and moving performance by Francis Jue as DHH, a laudable singing performance by Conrad Ricamora as Xue Xing, a singing and dancing Asian American cast that executes Sam Pinkleton’s electrifying choreography with ease, and finally the most entertaining performance that Hilary Clinton will ever give by Alyse Alan Louis—she enters the stage on a giant hamburger!

TICKET’S AND MORE INFO

Directed by Leigh Silverman, Soft Power Continues Through June 10, 2018

Tickets for “Soft Power” are available by calling (213) 972-4400, online at www.CenterTheatreGroup.org or at the Center Theatre Group Box Office located at the Ahmanson Theatre.

Tickets range from $30 – $130 (ticket prices are subject to change).

The Ahmanson Theatre is located at The Music Center, 135 N. Grand Avenue in Downtown L.A. 90012.