Author Archives: Derek Ku

On Dualism and Duplicity

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David Henry Hwang’s Ch’ing-lish incorporates cultural misunderstanding seamlessly into his play. The introduction flashes a couple of signs lost in translation: “Slip and fall carefully.” Slip and fall carefully seems almost ridiculous because telling someone to hurt himself or herself intentionally and be wary afterwards contradicts the previous statement.

As the first scene slid into place, I noticed that the rotating props and setting indirectly represent the transformation of the characters. The rigid blank walls of the office room represented how filtered and clean everyone behaved. Everyone seems so fake and plastered.

Cavanaugh’s corrupt history shatters the audiences’ preconceived notions of the innocent American businessman in a foreign land. Minister Cai Guo Liang, played by Larry Lei Zhang speaks in an agreeable tone. However the audience will discover this as false later on. Xu Yan, albeit coarse and stern, reveals to be supportive of the proposal for replacing the signs under the American signage. Her cold demeanor shatters as she quickly involves herself in an affair with Daniel Cavanaugh.

Leigh Silverman integrated the running theme of duplicity through careful instruction of the acting. Daniel Cavanaugh expresses his innocence and naivete since he cannot comprehend how the Chinese can transform their personalities abruptly.

Due to David Korins the designer, the duplicity carried onto the wardrobe of the actor’s. Xu Yan’s coat and scarf covered her actual outfit, her true identity. Sometimes, both of her behaviors are “true.” But the contrast ranges so wide apart. One side of Xu Yan wishes to please and fulfill her husband’s wishes. Yet on the other hand, she aims to satisfy her own desires. Jennifer Lim’s expression of these two sides albeit intangible slowly begins to define itself. Xu Yan delves into her emotions and gives the audience a full context of her history, background, and what comprises of her belief, which is a lingering faithfulness to her loved ones. Whether her loyalty belongs to Daniel Cavanaugh or Judge Bing, her husband almost seem irrelevant. The ideal of fraudulence finally translates to Daniel and Teacher Peter.

The transforming set and the fluid characters contribute to a central theme of falsity. The robust performance of Jennifer Lim and Gary Wilmes carry the message of the play. Hwang’ s approach to the clashing cultures reflects something larger than the play itself.

Brantley the Bold, Brash, and Brainy.

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Ben Brantley starts off his article with a shocking image: a woman falling off the Niagara in a barrel. What a great eye-catching sentence.  His review of Queen of the Mist was subtly critical, which is basically a well-disguised and scholarly formulated review. After reading his review of the show, I am not repulse but I am disinterested from watching this production.

Brantley carefully does not tread on dangerous grounds and slowly picks at the flesh of the play. The introduction of the context developed quickly. Brantley writes, “ so this hapless little man, who turns out to be Leon Czolgosz, goes off and assassinates President William McKinley.” His writing style is fun, vibrant, and easy to follow.

The caliber of his vocabulary impressed me and I believe he may be using a well-balanced mixture of words that hold lots of meaning but are more politically correct that other phrases.

Right after he puts the production down, he pulls it back up saying “there’s more than whimsical homage afoot in this perversely witty encounter between Anna Edson Taylor and Leon Czolgosz.”

I found it hilarious how Brantley utilizes this phrase: “It would be a pleasure to report that “Queen of the Mist” seems poised to become the popular hit” followed by a “but while it features some beautiful music)” He pretends that he really appreciate the work that he’s watched for tonight, but he manages to bash the production in a unnoticeable fashion.

Brantley’s character description is thorough and concise. They depict the basic functions of the characters and he effectively communicates what is lacking and what members of the cast accomplish.

 

 

I’ll have my stereotypes with a side of ignorance.

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Racism always existed from the times when people enslaved one another. It grew from a means of differentiation into a means of generalization. Racism categorized people based on their physical features and common culture. But now it has evolved into a method in which people group negatively associate a group of people with bad habits or traits.

When someone sees racist’s comments being spread, I just see more ignorance. People are commonly associating Asians with social inadequacy and academic vigor. “If he is Asian, he must be…” Even if some stereotypes my night were offensive by itself, Generalizing a race, or group is. It is not politically correct, since people are assuming facts and applying preconceived notions to a person prior to their meeting. Stereotypes do not define a person

Racism through stereotyping is prevalent in mainstream media as well. For some reason, society finds it acceptable to have crude humor in movies and tv shows, yet when it is discussed among casual conversation. Racist comments become taboo. Also what allows one race from discriminating on its own? How is that any less wrong than any other race discriminating him or her? Discrimination is wrong on all levels. It should not be tolerated.

In a society that is trained to make guesses and jump to conclusions, I automatically assumed that David Henry Hwang’s Chinglish was about immigrants with broken English. It is nothing like it’s title. The production is one-quarter in mandarin. It breaks any preconceived ideas about the Chinese. His production costs is about $3.5 million to which is high and especially of a commercial. It’s risky bet on something that may be lucrative.  Hwang’s production contradicts any assumptions that one might arrive at about plays performed in a foreign language.

Mankind doesn’t look outward for opportunities to aid the races in need. Rather, man prefers to degrade and laugh at others and repeat such a vicious cycle of discrimination that needlessly exists.

 

On Concerto’s and Tomassini’s

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In Tomassini’s “Bartok at Home, With a Touch of the Mischievous,” He discusses the creative work of Hungarian-born pianist Andras Schiff and with the help of the Hungarian group Muszikas, Bartok can achieve a level of musical talent comparable to those of classical masters. He praises Mr. Schiff’s vibrant concertos. I found his context necessary, but dry. His writing style showcases his knowledge of the classical musicians and composers. Tomassini describes fluently the artists whose works are nothing short of brilliant.

Words like pummeling, propulsive, engulfed, and steely are great example of how Tomassini utilizes adjectives to his advantage. He reveals a different facet of various music performances. These adjectives elaborate on how the sound and tones of the instruments were received by the audience. Tomassini follows a logic that the reader can easily understand. The sequence of the concertos and the colorful compliments make this review.

 

C’mon! Give Them a Chance!

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Claudia La Rocco’s review of A Prize Every Time really gives the reader a chance to appreciate an art form that requires patience. Trios of choreographers are given a group to dance with during this four day event. She really make it clear that there is a level of difficulty to this performance and while it does take time for their to create a dance. It is well worth the wait. She utilizes language that is easy to understand and also relatable.

La Rocco does make it clear that not all of the performances were strong enough that it was worth waiting for. She includes a more than sufficient amount of dialogue and viewer response but she fails to describe in her own words what she got from the play. She mentions it is piece choreographed, but what is the piece about? Is there a central theme to the dances?

I seem to pick up more of a response to the performance, rather than some context and then some opinion on the dance. There is no doubt that these performers are talented. There is a picture of a woman in red heels, blue pants with a golden stripe running through, and a yellow skirt. She is standing on her hands, telling us she is quite athletic and fit, thus validating the fact that these performers do have a certain degree of professionalism and training. The thinning crowd reflect the audiences’ response to the show which most likely is abysmal.

Personally, I would watch this show because the picture sold it to me rather than her review. However, La Rocco does bring some important perspectives of the piece to light. Despite the viewers’ response, I am all for improv and would love to attend.

LEAVE FIGARO ALONE!

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In the play version of the Barber of Seville, the audience came to appreciate the struggle for love that Rosine and the Count face. Figaro’s role became fate’s role. He initiated every action that occurred next. He was the driving force behind all of the consequences. Figaro WAS fate.

The play emphasizes the romance between the couple and how inevitable their love was. Nothing could separate these lovers apart, least of all Bartholo. The comedic factor in this story was how ridiculously impossible the love between the Count and Rosine was. Their marriage was so sudden.

In the opera version of Barber of Seville, Figaro is the star. He is still the driving force behind the consequences and now he is also the main character. The opera showcases what Figaro really contributes to the story. Everyone always seeks out Figaro and demands something from him. Be it haircuts, shaves, wigs, or favors, Figaro can accomplish anything. The comedy in this opera is the frustration of being Figaro. Everyone is calling his name and requesting his assistance as a barber and as a courier. He is never left alone. I personally find it hilarious he’s “complaining” that everyone demands something from him and he needs to handle it “one at a time.”