Sara Porkalob (Photo by Jeff Lorch)
Reviewed by Amanda L. Andrei
Geffen Playhouse
Through Oct. 6
RECOMMENDED
The greatest dragon in Philippine lore is the Bakunawa. Whenever this giant serpent swallows the moon, it breaks old patterns, ushering in eclipses and transformation. In this same vein of mythos, Sara Porkalob’s Dragon Lady refractures the family drama into a modern-day epic with streaks of boisterous charm.
The first in the Dragon Cycle, a trilogy written by Sara Porkalob about her Filipina American family matriarchs, this cabaret-inspired solo musical focuses on Sara’s grandmother, Maria Porkalob Sr. Maria morphs from an eight-year-old maid in a sleazy Manila club in the 1950s, to a teenage lounge singer, to a working-class mother of five living in Bremerton, Washington, and eventually to a grandmother celebrating her sixtieth birthday in the 2000s. Under Andrew Russell’s direction, Porkalob portrays nearly twenty different characters — family members, children, neighbors, gangsters — as she fills the stage with sonorous song and sparkling banter. Whether depicting the birth of a child, or a mischievous kid pretending to be Batman, or an argument between mother and daughter, Porkalob barely breaks a sweat, lending each character depth in a mere manner of seconds. As a performer, she is flawless.
Not only is this performer’s stamina impressive, but her storytelling crackles with honesty, ferocity, and independence. Despite her hardships, Maria Sr. never comes off as an oppressed victim but rather as an ardent and resourceful individual who owns her choices and charts her own epic journey. Conflict arises when these choices — and romanticized tales — contrast with the stories and memories of her daughter, Maria Jr. (based on Porkalob’s mother). While some storylines are never resolved, such as the origins of Maria Jr.’s birth (Was she truly kidnapped by a gangster when she was a baby?), these incongruencies actually reflect a diasporic and homeland Filipino experience where birth stories, parental ties, and family relationships can be obscured or mythologized in order to protect secrets or hide grief. Plus, the unresolved stories create a great cliffhanger and setup for the rest of the cycle, Dragon Mama and Dragon Baby (the latter currently under development).
Scenic designer Randy Wong-Westbrooke lavishes the audience with his recreation of a jeweled crimson and amethyst-colored nightclub, with a lithe serpentine body framing the stage. Lighting designer Spense Matubang creates magic within this space, especially when bright white bulbs blaze behind Porkalob, reminiscent of full moons in a leviathan’s belly. Veiled by red screens, the live band (lyricist, composer, and band leader Peter Irving on guitar and vocals; trombonist Jimmy Austin; bassist Mickey Stylin) relays a sense of seduction, trepidation, melancholy, and delight with their jazzy melodies and deep rhythms.
This production marks the Los Angeles premiere of Dragon Lady and is a strong choice in artistic director Tarell Alvin McCraney’s inaugural season. It’s heartening to see a story that not only breaks apart negative tropes about Asian American women — showcasing instead their humor and badassery — but also portrays a vigorous family drama that is both American and international. Across an ocean and three generations, Dragon Lady imparts a special kind of love — one that sails to the moon and back.
Geffen Playhouse, 10886 Le Conte Ave., Westwood. Fri.-Sat., 8 pm, Sat., 3 pm. Sun., 2 pm; thru Oct. 6. https://secure.geffenplayhouse.org/overview/dragon-lady Running time: two hours with an intermission.
