Menstruation: A Period Piece
Reviewed by V Cate
Big Little Theater Company at the Los Angeles LGBT Center
Through April 16
RECOMMENDED
An educational piece centered on the biological realities of menstruation – a topic that is surrounded with an alarming amount of shame and silence for something so commonplace – would be welcome any time. But now, at a time when reproductive rights are (particularly) under attack, Miranda Rose Hall’s Menstruation: A Period Piece – which explores menstruation with candor, humor, sincerity and pride – is vitally important.
Claire (Jane Hae Kim) is a 38-year-old lesbian who is processing a lot of big feelings surrounding reproduction. Desperate to figure out if a lesbian period is the ultimate “lesbian tragedy”, she shares her relatable and complex thoughts and emotions with her partner. In what ways does having (or NOT having) a child really impact the identity of those with reproductive systems, for women, and for queer women.
Meanwhile, her body houses a complex world of mythological proportions. Emily (Bibi Mama), a hormone inside her body in the visage of a goddess, desperately tries to bond with an Egg (Jo Lampert). But the Egg yearns for something that swims, something in the millions, and Emily’s sorrow takes her on a physical and metaphysical journey to learn of love and death.
This ensemble is dynamite, serving up equal measure camp and conviction as they travel through the uterus, ovaries, fallopian tubes, endometrium, and the processes of follicles, corpus luteum, progesterone, and the unfathomable inner emotions and needs our bodies hold onto.
This is a well-fashioned musical that could easily become a standard. Music Director & Composer Tova Katz has evoked splendid harmony, wrenching emotion, and sonic story-telling that’s fun and engaging. The Uterine Chorus (Kate Ly Johnston, Marnina Schon, and Audra Isadora) work marvelously in tandem with one another, with consistently high caliber vocal performances. Kaci Hamilton is a power-house in her various roles, including Madame Progesterone and the Ultimate Egg Authority. Mama as the archetypal estrogen-earth-mother Emily is divine, and her duets with Lampert are celestial. Meanwhile, Lampert’s solo moments reach haunting and moving heights. The show’s overall vocal impact is surprisingly high for one with such a cute premise. Katie Lindsay’s direction in tandem with Keva Walker’s movement direction focus on energy, imagination, and connection.
With all the great work the production team has put in, the design elements especially stand-out. Yuki Izumihara’s vision of a uterine labor camp is colorful and full of texture with equal parts functionality, modern art, and 90s Nickelodeon funhouse. Costume Designer Lena Sands takes the cake with her monumentally phenomenal wardrobe.
The final preview performance had several hiccups, but as the run continues the show will certainly sharpen. As an educational piece, cisgender men can enjoy learning more about bodies that differ from their own. Those with menstrual cycles will be able to relate to the show. There is a definite feeling of “being seen.” And for us queers, the audience feels like a micro-community in a wonderful celebration.
Big Little Theater Company at the Los Angeles LGBT Center’s Davidson/Valentini Theatre, 1125 N. McCadden Place, Hollywood CA 90038; Thurs-Sat & Mon., 8pm; Sun., 2 pm; thru April 16. www.lalgbtcenter.org/tickets; Running time: 90 minutes, no intermission.
