Leandro Cano and Cherish Monique Duke (Photo by Ken Sawyer)
Reviewed by Asa Fris
The Road Theatre Company & BroadStage
Thru Nov 1
RECOMMENDED
Leandro Cano and Cherish Monique Duke (Photo by Ken Sawyer)
Kaiju by Dan Caffrey is a thoroughly enjoyable satire about any and all discourse to do with art. Under Ken Sawyer’s direction, this world premiere is chalk full of hearty performances, clever design, and hilarious writing. It’s difficult to imagine a better rendering of Caffrey’s script, which is first a play within a play, and then a play within a play within thatplay. Yes, that sentence is accurate.
First, the play.
“Please enjoy Kaiju!” announces Shinji (Genki Hall), a friendly but meek Road Theatre crew member. He spins around and manually turns a large black turntable. A miniature replica of North Los Angeles, one that’s been obliterated mostly to rubble, rotates into view. There are a few LA landmarks still standing, such as the Hollywood Bowl and sign, the Capitol Records building, and of course, NOHO Senior Arts Colony, where The Road Theatre is resident.
Enter two Kaiju: Apex, played by Amelia (Cherish Monique Duke) and Goliath, played by playwright Manuel (Leandro Cano). Kaiju is a Japanese term that literally translates to ‘strange beast’, as you’ll learn.
Apex is green and scaly, like a dinosaur with the bright yellow eyes of a deep sea creature. Goliath is tan and humanoid, sporting fur, paws, and big black eyes. Each body-suit combines multiple earthly creatures into one strange beast, the staple of Kaiju design. Also in line with classic Kaiju design, these creatures are massive. If you use the model of LA on the turntable as a scale, the peak of the Santa Monica Mountains stands no higher than mid-waist on Goliath.
Apex ravages the landscape, destroys buildings and eats fleeing stragglers. Goliath sits in the back and cries, much to Apex‘s dismay, and she asks why. Turns out, he’s new to being seen as a monster, as up until now he’d been worshipped by humans in a temple above his underground nest. Now he struggles with the idea that he is harming the very creatures who used to worship him. As Apex calms Goliath down, and the two bond over their respective Kaiju lived-experiences, sparks begin to fly.
But this Kaiju “date night” is pure chaos. Maybe it’s just a clown show, a vehicle for the entertaining albeit ridiculous performances of Amelia and Manuel. Maybe it’s a multi-layered allegory for modern times, just as Godzilla (oft considered the first Kaiju) was unquestionably tied to its time, and the U.S. dropping atomic bombs on Japan.
Or maybe it’s just an outlet for playwright Manuel to express his opinions on a slew of topics, including but not limited to: religion, sex, sexuality, gender expression, technology, and war. But it’s hard to believe that Manuel is seriously attempting to encourage discourse about any of these issues. One moment Goliath laments the unintentional harm he causes, the next he’s got awooga eyes for Apex’s voluptuous green behind, and then in the next he is puking all over the front row, and for a while at that.
In the final sequence, Apex lures him into a dance of true destruction, and they fight off elaborate models of helicopters, fighter jets, and tanks, all puppeteered by Shinji. The chaos builds and builds until the two climax, and fall into each other’s arms, and smoke a burning tree, as a mere cigarette would be infinitely too small. Of course, their love making results in a baby brood, an egg, teleported to the safest spot on the miniature set: The Road Theatre. Finally, lights out, and Manuel, Amelia, and Shinji bow.
Then, the talk-back.
Which is in reality part of the show. One by one we’re introduced to an ensemble of audience members, including: Maggie (Ann Hearn), one of Manuel’s old theater professors, who has many moral lessons to deliver to the world (and who delivers a riotous final speech); Roy (Jon Snow), an insecure and doe-eyed actor, and Lee (Gabie Faulkner), his date who’s full to the brim with cynicism. And also Sondra (Noa Lev-Ari), an enthusiastic friend of Manuel, Rani (Sapna Kumar), who’s quick to instruct others on proper morality, and Kyle (Billy Baker), who’s there.
There’s also now the creative team, out of costume. That team includes: Shinji, the underappreciated engine behind the play; Manuel, the playwright who avoids any particular interpretation of his work; and Amelia, the all-too-impassioned Community Engagement Director, the leader of the talk-back.
Throughout the uproarious talk-back, Caffrey uses each character to present many of the phrases and arguments you so commonly hear in response to art that there are just too many to highlight — but they’re all on the nose. To deliver this wide range of perspectives, Caffrey identifies key archetypes for his characters — all of whom are artists and/or consumers of art — and pushes their outlying qualities to the extreme. Sawyer’s direction furthers each character’s distinct perspective, to the point where I felt I could identify professors I’d had in the past, or fellow artists, in this character and that.
Kaiju has the full package, as every design element is firing on all cylinders. Of particular note is the delightfully intricate, and even surprising set design (Lacey Anzelc) and prop design (Danna Hyams & Ken Sawyer.) And the creature body-suits, designed by Shealyn Biron and Lee Diemer, are just shy of looking like they could fit right into the Kaiju universe.
The stellar design, in conjunction with great performances, leaves the viewer free to laugh and laugh at the futility of their passionate discussion, and the absurdity of trying to find meaning in all this chaos.
The Road Theater Company, The Noho Senior Arts Colony, 10747 Magnolia Blvd., North Hollywood. Fri.-Sat., 8 pm, Sun., 2 pm; thru Nov. 1. https://ci.ovationtix.com/35065/production/1280560 Running time 90 minutes, no intermission
