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Book: Kitchen
Topics: Poetry
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My poetry professor tells us that great poems will “teach (us) how to read (a) poem’s style as its read” A great poem will teach you how to read that specific poem before it is done. You have to let the poem teach you, and then absorb the rest of the poem. This is pretty similar to the effect that Roland Schimmelpfennig’s “The Golden Dragon” had on me.
This play was a play that taught me how to watch the play as it was happening. I knew the play was going to be a completely different experience than any play I had ever seen before the moment I walked in the door.Upon walking into the theatre, I was handed a small take-out box that looked like it was from a Chinese restaurant. Unfortunately, instead of food inside, there was a “food for thought slip. The food for thought slip, which was given to every person that attended the play, created a unique start to the theatre experience. Each slip had a name on it, a profession, and a place of origin for the person.
It also had a little blurb about the person’s assimilation into America. A few other things were cues that this was not going to be a normal play experience.The stage jutted out into a large table that audience members could sit around if they pleased. At each seat around the table there was a plate filled with dirt. It didn’t look so appealing, so I chose a normal seat in the audience. The set was gorgeous as well, with an elaborate oriental backdrop that had vibrant reds and was extremely appealing to the eye. When the play started, I was almost immediately lost.
I had no prior knowledge of any sort about the play, and hardly had time to sift through the playbook before the show began.It was initially tough to follow any of the characters, because only four actors were taking care of more than a dozen roles. I didn’t realize this fact at first, but it didn’t take a while before I picked up the actors’ cues that they were covering more than one role. The play is also incredibly fast paced. The stage directions are often said aloud, and the setting is also spoken before each new event.
There was a million things flying past me in the first 10-15 minutes of the play, and I felt incredibly overwhelmed.It was there that I decided I had to make a conscious change in the way I was viewing the play. Sitting in my seat, I accepted the fact that I was probably not going to be able to pick up everything that was going on. I was probably not going to be able to keep track of all of the characters’ names, all of the different personalities, and which actor was responsible for every individual role. I had to accept that, and move on. Once I was solely concerned about enjoying the play and ignoring the semantic details, I was able to absorb much more, and strongly believe I had a better experience because of it.Something I really enjoyed about the play was the ever-present dark undertone that laced the often comedic or dramatic dialogue.
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This was especially apparent in the role of “The Cricket. ” Having a sex slave being played by a male was an interesting twist that made all of the dialogue that much more uncomfortable. The other characters, (when in the persona of an abusive male), spoke with disregard and complete ownership of the Cricket and her body. The dialogue here was extremely disturbing, and I think the acting was phenomenal.I was not supposed to physically believe that the person on stage is a female prostitute, but rather absorb the subtext and latent content of having this character be so present in the lives of the other characters. The play was able to shed some interesting light on the daily lives of Asian immigrants in America. When watching all the characters at work in the Asian restaurant, it was incredible how claustrophobic the set felt, even though they had the whole stage to work with.
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I felt as if I was in the hot kitchen with them, no room to breathe or think, an awful working condition.The way the characters used the stage overall was incredibly interesting. An actor would often return to a certain section on the stage of strike a certain pose to remind the audience of a certain character and that character’s persona. This was helpful and effective to be able to (somewhat) keep track of all the characters. As far as the acting, I thought JC Paciera had a standout performance. I have known JC for a couple years as an employee of Tulane’s Transportation Services, but had never known he had a career on the stage.From being the first actor on stage and immediately setting the tone and pace of the play perfectly, to completely nailing the attitude of a middle aged female flight attendant, he was a thrill to watch and hard to take my eyes off of.
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I also thought Harrison Lang had a fantastic performance. I got to talk to him after the show briefly, and I just asked him how the hell anyone could handle that many roles in such a quick amount of time. He said that is it a play where all the actors have to work incredibly hard, and you are completely worn out by the end of it.Audrey Catalano was fantastic as the young Asian man with the toothache.
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The way she utilized her body was mesmerizing, as she was successfully able to mimic male body movements in a female body. I was also drawn into her facial expressions, as every scene with the toothache had me turning away in my seat. Overall, the play introduced a ton of new concepts to me and I was thrilled to be able to experience it. A combination of an original style, a gorgeous set, really superb acting, and an important cultural subtext provided for an extremely enjoyable and valuable theatre experience.
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