Death and Cockroaches

Reviewed by Angie Hoover
Chalk Repertory Theatre
Through December 1

In Eric Reyes Loo’s Death and Cockroaches, a struggling TV writer must temporarily abandon his work to care of his dying father. His experience shows viewers how a parent’s death can both relieve and create tensions within a family as well as heighten existential anxieties for those left behind. Solid but somewhat uninspired, The Chalk Repertory Theatre’s production entertains, but does not effectively elevate meaning through directorial vision.

Anchored strongly in character experience, the writing is a mixed bag of exceptional and mediocre, using clever, self-aware dialogue to unfold a narrative that captures the emotional truth of grief without ever attempting to offer a developed revelation about it. This ambiguity is arguably a stylistic choice; however, it feels very much like the play is an exact recollection of an experience that has not been necessarily shaped to convey a clear insight about its subject matter.

There is an attempt to stylize the narrative using magic and dream imagery. While elements such as a talking cockroach and a large, carnivalesque wall of gloryholes (referred to as “the wall of dicks”) are admirable for their innovativeness, they mostly distract from the core symbolism, which emphasizes but never extrapolates the regenerative nature of love and its eternal presence in the human experience. This lack of follow-through is mirrored in the protagonist’s story arc, which expresses the characters’ emotional struggles without establishing a statement of purpose that might facilitate a moment of enlightenment for viewers at the play’s end. For Eric (Sunil Malhotra), the final scene brings emotional validation as well as artistic inspiration, but these resolutions provide little pay-off since the character’s needs and desires are never really established with clarity.

As a whole, the production is sturdy, featuring a true ensemble cast that remains tonally synchronized and emotionally sincere for the entirety of the play. It is a testament to the company that the characters feel nuanced and true without being too subtle for the stage. In terms of cultural significance, the piece provides an authentic depiction of modern masculinity, which is written from the native perspective of queer, mixed-race playwright, Loo. Both Eric and his brother, Pat (Justin Huen), are complex, exquisite portraits of men who naturally and comfortably take on social roles as nurturers with emotional depth. Gender fluidity is not a focus but an accepted and organic reality, which is inherent in the playwright’s experience.

The show tells of a common experience from a vantage point that is timely and unique, and while the magical elements are underutilized, and the script is unrefined, the performances and character-driven dialogue make it an interesting and highly personal piece that is worth seeing.

Atwater Village Theater,  3269 Casitas Ave., Atwater Village. Thurs.-Sat., 8 p.m.; Sun., 2 p.m; special performance on Mon., Nov. 26, 8 p.m.; through Dec. 1. www.chalkrep.com or (323) 379-9583; chalkrepboxoffice@gmail.com. Running time: 90 minutes