A ‘Slice’ of comedy with an Asian American flair

South Pasadena local Paul Kikuchi has a rollicking comedy that made its world premiere at the Fremont Centre Theatre. “Slice” is about an impoverished armor repairman aiming to make the perfect sword. “Slice” ends this weekend.

 

If you’re looking for historical accuracy, you’ll want to go somewhere else. History is only a minor concern to Kikuchi who places us in 14th century and there’s plenty of talk about geisha although the institute didn’t emerge from the pleasure quarters (read prostitutes here) until the 18th century.

 

Of course, Kikuchi also mentions Crafts Services (began in 1920s), chocolate chip cookies (1930s) and Ginsu knives (1975). The costume designer Nicholas Hirata also mixes eras and dress styles and the fight choreography isn’t flashy or exciting–just silly.

 

Think of this as a zany, slapstick long comedy routine about a young entrepreneur, Kai Matsuda (Scott Keiji Takeda), with a dream and his mother (Emily Kuroda) who supports them by working at a geisha house (but not as a geisha). Kai repairs armor, but has been neglecting his work as he attempts to make the perfect sword that he will give to his patron, Lord Watanabe (Aaron Takahashi). With Lord Watanabe’s endorsement, his reputation will be made, but his work hasn’t been up to snuff. The two take in a refugee, Fumi (Elizabeth Ho),  who has angered another local lord and has her face painted on wanted posters (photography hasn’t been invented yet). Fumi happens to be a whiz at repairs. Of course, Fumi and Kai will end up together and Watanabe will get a new sword.

Director Jeff Liu could tighten up the action, especially in the sword choreography.  Yet there is definitely chemistry and good comedic timing with this ensemble.

 

“Slice” is a bit predictable but if you’re looking for laughs and non-political fair with an Asian flair, head on over to the Fremont Centre in South Pasadena.

 

“Slice” continues until Nov. 18 at the Fremont Centre Theatre, 1000 Fremont Ave., South Pasadena. Fridays-Saturdays, 8 p.m.; Sundays, 2 p.m.  $20-$25. Call (877) MTC-8777 or go to MetamorphosisTheatre.org.

GO: ‘Topdog/Underdog’ in South Pas

Suzan-Lori Parks won a 2002 Pulitzer Prize for drama with her “Topdog/Underdog” which came to the Mark Taper Forum in 2004. At the South Pasadena Fremont Centre Theatre, the power is in the smallness of the venue. Under the direction of James Reynolds, with Jed Reynolds as the elder brother and Stephen Rider as the scrappy younger  brother, the rawness and anger are more immediate.

Deserted by their parents, their mother leaving first and then their father dumping them when they were 16 and 11, these two African American men are living in a one bedroom in a rooming house. There’s no running water. The only bed is small and belongs to the younger brother, Booth. Lincoln sleeps on a big chair.

Set designer Dove Huntley gives us a home of economic and emotional despair: dingy wallpaper that is peeling, a pipe protruding along the ceiling that is used for hang clothes, a mattress so thin it has no shape beneath the sheets, and trash left on the floors.

As a joke, the boys’ father named them Lincoln and Booth. Lincoln is far from honest–he was once a street hustler–but has left that life to play the President Lincoln in an arcade where people can come in and shoot him with cap guns for a cheap thrill. He must wear whiteface and gets paid less than the white man who played the part before him.

Booth doesn’t work, but he talks about his girl–getting her back and treating her right. He also plans to start street hustling, doing the same three-card con his brother used to perform with his crew, pulling in a thousand dollars daily. But Booth is heavy-handed and not particularly glib.

There’s some love between the brothers, but each is emotionally crippled and in their dog-eat-dog mentality only one can come out on top.

According to the director’s notes, this play was not being performed because of the language. We’re not talking about usage of the N-word, but there are plenty of four-lettered curse words.

Race and the limitations placed on African American men is one theme, but it’s also about the pain of poverty and during these economic times, that might make watching the brotherly relationship implode too difficult. If you can bear it, then this production is a powerful, hard-hitting production that shows why sometimes a smaller venue is better.

“Topdog/Underdog” continues until 18 September 2010 (Saturday) at the Fremont Centre Theatre, 1000 Fremont Ave. (at El Centro). Fridays-Saturdays, 8 p.m.; Sundays, 8 p.m. For more information call (866) 811-4111 (Theatermania) or go to www.fremontcentretheatre.com.