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myoscience.com Political strategist Nathan Berkshire (played by Robert Sicular, left) shoots the breeze with up-and-coming candidate Julius Lee (Pun Bandhu) in “Warrior Class.”
Pedantic politics ‘Warrior Class’ warms but never heats up the stage by Jeanie K. Smith
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laywr ight two men chat / / ,Ê, 6 7 the Kenneth Lin endlessly about focuses his stuff that sounds newest work, “Warrior Class,” on vaguely important: Julius’ orithe smarmy backroom of politics, gins, his immigrant parents, how where deals are made and careers a Chinese-American candidate smashed or launched. It’s a timely might need to be even “cleaner” topic, albeit a “given” in this day than his opponents, the choice of and age, and TheatreWorks has which committee to serve on to mounted a handsome production. boost his career. But it’s all delivThe 2012 play purports to ex- ered in such a casual way that it’s pose the extent of such backroom hard to follow: all talk, no action, dealings in the context of one and all in a conversational monoyoung Chinese-American’s politi- tone. In the last few minutes of cal ambitions. But, just as with the the long scene, Berkshire brings character’s career, there’s a fun- up his meeting with Holly, finally damental disconnect and the play connecting a few dots and suggestfails to deliver on its promise. ing a deal for Julius to approve. Charismatic young state assemThe drama unfolds from there blyman Julius Weishan Lee (Pun by incremental degrees, taking Bandhu), known as the “Republi- lengthy scenes to deliver relatively can Obama” to his fans, is being small bits of information. Ultivetted for a potential run for the mately, there are revelations from House, and experienced “consul- all three characters, but they feel tant” Nathan Berkshire (Robert anticlimactic after long stretches of Sicular) comes on board to vet, inaction, eroding the impact of the coach and advise. We learn this overall theme. We all know (don’t somewhat obliquely in the first we?) that every politician must pay scene, which pairs Berkshire and a to play, and that integrity may be woman named Holly Eames (Delia forced to take a back seat to expeMacDougall). As Berkshire ques- dience and alliance. We know poltions Holly about her connection iticians must be adept at warding with Julius, we learn how Holly off attacks on character and spucan presumably hurt his career rious suggestions of misdeeds. If because of what she knows about the suggestions prove true, public his past. The scene suggests some- pillories can undo a great career, or thing wildly inappropriate exists lead constituents to try and defend in Julius’ history, and ends with a a candidate in spite of “issues.” We cryptic remark by Berkshire. can lament this state of affairs, but In Julius’ kitchen in New York, it’s real, and sometimes works for
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miered in Rome in 1900, is West Bay Opera’s sixth. In addition to treating the ears, this production features fine acting befitting the high-octane theatricality of the story, based on a work by French playwright Victorien Sardou. The team leading this dynamic production is made up of West Bay Opera’s general director,
José Luis Moscovich, who conducts the orchestra, and stage director Richard Harrell. The opera is sung in Italian, with English supertitles. Jean-François Revon is responsible for the splendid set. And in an innovation for the opera company, Revon co-designed, with Frederic O. Boulay, set-enhancing video-projected images. West Bay, based in Palo Alto, proves over and over again that you don’t have to go to San Fran-
the good when relevant misdeeds are exposed. Lin’s play adds little to the debate about political deal-making or character-bashing and surprisingly next to nothing about the perils of being “ethnic” in American politics. It feels like a one-act drawn out to full length at the cost of action and interest. The more intriguing plot threads — is Holly unbalanced, or is Julius? potential suicide real or imagined? marital strife and its stresses? — are never developed. The ending is vague and undramatic; it feels like there’s a scene missing. And why the piano? An homage to Hedda? So many loose ends and, in the long run, inconsequential, a slight blip in the political landscape. Erik Flatmo’s revolving set is quite attractive, but slows the action even further, and forces movement in the kitchen to be quite flat and forward. Lighting by Steven B. Mannshardt adds interesting texture and depth, and Noah Marin’s costumes help define characters well. Brendan Aanes’ sound design creates a backdrop of political speechifying, but it’s just muffled enough that one can’t hear if it’s the rhetoric of scandal or not. Director Leslie Martinson has assembled a fine cast, each actor well-suited to the character, but the play’s inaction weighs them all down and masks their capabilities. The better scenes occur between Holly and either of the men, where it feels like there is more conflict fueling the tension, but even those are dragged out. Lin obviously has credible skills in dialogue, and has justifiably grabbed the attention of the theater world. This play, however, feels like it was rushed into production before it had a chance to fully develop, perhaps because of the timely topic. N What: “Warrior Class” by Kenneth Lin, presented by TheatreWorks Where: Mountain View Center for the Performing Arts, 500 Castro St. When: Through Nov. 3, with 7:30 p.m. shows TuesdayWednesday, 8 p.m. ThursdaySaturday, 7 p.m. Sunday, and 2 p.m. matinees Saturday and Sunday. Cost: Tickets are $23-$73. Info: Go to theatreworks.org or call 650-463-1960.
cisco to see superbly staged opera. To opera lovers — and those who are curious about this enchanting art form — Tosca calls. N Info: Remaining performances of West Bay Opera’s “Tosca” are at 8 p.m, Oct. 19 and 2 p.m. Oct. 20 at the Lucie Stern Theatre, 1305 Middlefield Road, Palo Alto. Tickets: $40$75. Go to wbopera.org or call 650-424-9999.