LOS
ANGELES TIMES
September
17, 2004
THEATER
REVIEW
East West Players' production of Cherylene Lee's 'Mixed
Messages' is slick, but the play's racial and cultural identity themes need
fleshing out.
by Rob Kendt
A
young man holds a skull centerstage and, gazing into its hollow eyes,
contemplates his place in the cosmos.
This
isn't "Hamlet," not by a long shot, but Cherylene Lee's schematic new
problem play "Mixed Messages," in a slick but silly world-premiere
production at East West Players.
The
skull belongs to La Brea Woman, that lovable staple of L.A.'s Page Museum whose
battered, 9,000-year-old bones, trawled from the tar pits in 1914, have invited
much speculation than the Black Dahlia murder case. The young man is Jake
Ramirez (Luis Villalta), whose fresh-faced poise belies that he's got some
major abandonment issues, and that he's chosen to process them in the
time-honored American way: litigation.
He
believes, as many experts do, that La Brea Woman was a Chumash Indian, and he's
come calling at the museum to collect her remains and give them proper burial
rites. That he himself is but one-sixteenth Chumash--and from a clan not
recognized by the state's official Chumash Nation--isn't the point. For him
it's a matter of "cultural conscience."
This
doesn't fly with Wai Lin-Lawson (Mia Riverton), a young anthropologist with a
tendency for nervous chatter. Though she's only at the museum to tidy up her
late mentor's office, she soon takes up the case in favor of La Brea Woman as a
valid scientific specimen.
And
so the superstition-versus-science games begin in a series of exchanges between
Jake and Wai that awkwardly combine flirtation and pedantry.
"That's
evolution!" Wai cries. "That's desecration!" Jake retorts.
That's bad dialogue, I rejoin.
Villalta
labors nobly to make his trumped-up character work, while the superficial
Riverton doesn't seem to have the chops to make the attempt.
Indeed,
we begin to see what Lee's show might have been only when these two babes in
the anthropological woods interact with a gallery of supporting players.
Wai's
glamorous Chinese-American mother (Natsuko Ohama) is a divorcee who dismisses
her daughter's obsession with the past, both professional and personal, with a
tart one-liner: "Looking back. . . makes my neck wrinkle." Her
bookish father (Walter Beery), meanwhile, is a self-described "retired,
ineffectual WASP," with a properly English aversion for confrontation and
a bottomlessly sweet nature.
Lacking
parents of his own, Jake turns first to a well-heeled Chumash Councilman
(Miguel Najera), who wears both his bolo tie and his power with convincing
gravitas, and who memorably justifies his tribe's profitable casino business
with reference to a Chumash fable in which the sun gambles with a coyote. Then
Jake turns to a personal property lawyer (Lisa Tharps), who helpfully clarifies
a few things for him.
"It's
not about money," he insists. "Do see what I mean?"
"I
see pro bono work," she replies.
Director
Jon Lawrence Rivera deftly moves these scenes along across John Binkley's
lovely set, and even manages to pull off a fanciful cross-cut sequence in which
these four elders appear as animated fossils in the museum.
But
Rivera can't do a thing with the mounting absurdity of Jake's and Wai's
interactions, which eventually solve the La Brea Woman mystery by using a kind
of pop-forensic "profiling" that would be far-fetched on
"CSI."
Playwright
Lee was reportedly inspired by 2000 Census data showing that 20% of Angelenos
identify themselves by multiple ethnicities. While we hear a cacophony of
recorded testimonials by young people about their mixed heritages over scene
changes, and while Wai's own biracial background ostensibly figures into her
passion for the distant past, Lee's play never connects with race as it's lived
today, in its current muddle of shopworn identity politics and
post-affirmative-action indeterminacy.
There's
a lot to say about the way racial and cultural categories, despite their
demonstrable mutability, stubbornly persist. But a dramatist can't simply refer
to these issues, as if in footnotes. Lee just hasn't put enough flesh and blood
on these bones.
"Mixed Messages," East West Players at the David Henry Hwang Theatre, 120 Judge John Aiso St., Los Angeles. 8 p.m. Thursdays-Saturdays; 2 p.m. Saturdays-Sundays (no Saturday matinee on Sept. 18). Ends Oct. 10. $28 to $33. (213) 625-7000 x20. Running time: 2 hours.