“A Mulholland Christmas Carol” Theatre of
NOTE Through Dec. 21
Let’s be honest; Los Angeles is unlikely to have a
Dickensian postcard white Christmas. Nonetheless, “A
Mulholland Christmas Carol” manages to bring a taste of
Dickens into Hollywood’s smoggy air. The Theatre of NOTE
presents its tongue-in-cheek musical, which parodies Dickens’
famous tale with Scrooge as L.A. legend William Mulholland. In the
play he’s uncompassionate in his tyrannical drive to build
the L.A. Aqueduct. The characters mock the fantasies of the
California dream, hilariously illustrated through caricatures of
American, Irish, Mexican and farcical London cockney accents.
Behind the kitsch humor are obvious digs at how the dream corrupts
and ruins, but you may be laughing too hard to notice. The Ghost of
Christmas Present strides on as Teddy Roosevelt mocking the
“headless horseman” by carrying a toy tiger head under
one arm. His arrival provides some real laughter, as does a young
Mulholland’s “sincere” ode to the L.A. River. At
times you may grow tired of the actors’ “aren’t
we clever” pauses to glance at the audience. You may also
find yourself struggling to get the references to California
history. Mostly, you’ll be giggling harder as the play
progresses, and tapping your feet to the witty songs. Christmas in
Hollywood is very funny. – Anna Whitwham
“The Tempest” David Henry Hwang Theater
Through Dec. 15 (213) 625-7000
In the East West Players’ production of William
Shakespeare’s “The Tempest,” the Asian American
theater troupe conjures a magical world of light and shadow,
harmony and discord, a world of ethereal visions. Andrew Tsao,
director and writer of the brilliant adaptation, emphasizes
opposing forces to show that each force in life cannot exist
without its opposite. Most of the actors skillfully assume double
roles, emphasizing the duality of human nature. Gwendoline Yeo
plays both Miranda (Prospero’s virginal, love-struck
daughter) and Ariel (Prospero’s spirit slave). The
contrasting faces of sexuality, mischief and innocence manifest in
a single actor, who convincingly glides between the two. Matthew
Yang King plays Caliban, the half man, half beast who plots to
murder Prospero, as well as Ferdinand, the man who professes his
love to Miranda. King’s skillful performance highlights
conflicting facets of man: the evil beast and the lover. One
standout scene features a long, translucent red cloth, guided by a
spirit bearing a rod topped with the yin-yang symbol. The cloth
envelops Miranda and Ferdinand after their marriage. The stage
blacks and a light projects Ariel and Caliban’s dancing,
fighting shadows onto the cloth. The beautiful scene embodies the
thought-provoking dualities in the play. The many dichotomies probe
at issues of unity and balance, the melding of Eastern and Western
traditions, like yin and yang. – Kathleen Mitchell