Review: ‘Comfort Women’ A New Musical

Posted on July 28, 2018 by Karen Nowosad

Chloe Rice and Roni Shelley Perez in a scene from ‘Comfort Women’ A New Musical playing at NYC’s Peter Sharp Theatre. Photo by NK KIM

World War II was a time of unspeakable horrors. The fighting and the loss of lives are only a few of the terrible events. One atrocity that is starting to become better known is the fate of Asian women lured into sexual slavery to serve the Japanese Imperial Army. They became known as ‘comfort women.’ The subject is one rarely mentioned because of the cultural shame suffered by the women. A new musical, Comfort Women, tells the story of a Korean teenager who enters this world. Her journey and others portrayed in the show are representative of the plight that happened to thousands of unsuspecting women.

‘Comfort women’ included girls as young as 14, who were promised well-paying jobs abroad. Many lived in poverty so this seemed the answer to their problems.  Instead, they were taken to locations to forcefully serve as sex slaves for 50 to 100 soldiers a day. Many died from the horrendous mistreatment. There are a small number of survivors still alive today who are scarred forever, living in shame and reluctant to speak out about what happened to them.

Dimo Hyun Jun Kim, from Seoul, South Korea, is a Writer and Director of Comfort Women. Mr. Kim offers this information::

In the past century, Korea and Japan have dealt with many historical arguments. Sexual Slavery is one of the most controversial subjects between our two countries. But in the past 70 years, Korea couldn’t get an official apology from Japan. I believe that our generation has a responsibility to remind the world of the distorted history of sexual slavery and human rights. But, sexual slavery is not just a political problem between Korea and Japan. It is a global human trafficking issue from other countries as well. Victims from World War II are still alive and what’s most troubling is that this is still happening in the world.

The Story

Sam Hamashima, Abigail Choi Arader, Jake Vielbig – Photo by NK KIM

‘Comfort Women’ begins with scenes in a Korean village living under the jurisdiction of Japanese law. Life is difficult and harsh. Mr. Komimo comes with promises of high wages for those women willing to move to Japan to work in a sugar factory. Goeun is one of the teenage girls who decides to take his offer. They leave on a ship supposedly bound for Japan and a new life. Using abstract but descriptive choreography, their lives are turned inside out as they are abused by the soldiers. They land in Jakarta, Indonesia in 1942 where their lives of servitude begins.

Matheus-Ting-Jake-Vielbig – Photo by NK KIM

The story forwards to 1945 at Semarang, Indonesia where a plot develops to free the girls. It also shows problems within the Japanese Imperial Army where Korean men serve but receive harsh treatment from the Japanese men. An additional side plot is also explored about the troop’s General and his son. Shades of the war ending are seen as American planes fly through. All of this is added to the attempt to free the women. Some make it out, some do not. The end shows some of them returning to their Korean village changed from the way they left. And yet, hope still seems to be in the air; a tribute to the human spirit.

Writers for Comfort Women include Dimo Hyun Jun Kim, Osker David Aguirre, and Joanne Mieses. The book for the show does some good character development especially with several of the young girls and the soldiers during the Semarang scenes. The relationship between Goeun and Minsik, the Korean solder, is well done and adds much to the scope of the story both during the captivity and afterwards. The story of a laundry worker contributes to the escape plot but parts are not needed and may need to be cut.

Music is Bryan Michaels and Taeho Park. Lyrics are by Bryan Michaels. There are some very fine songs both of despair and hope. The songs with choreography are well done as well.

Overall, this is a good show with a tremendous story to tell. History buffs will want to see this to get a view of events not well-known. As little known as they are, they need to be put out there. Comfort Women does that in a stern, yet lyrical manner.

One warning: There is a strobe light that is intense when a back piece of scenery opens. If sensitive to that type of light, check with the very fine staff prior to the start of the show to get an idea of when it is coming and prepare as needed.

Additional Information about Comfort Women

Running Time: Approx 1 hr. 45 minutes

Location: Peter J. Sharp Theater, 416 W. 42nd Street, New York City

Performances: Wednesdays, Thursdays, Fridays and Saturdays at 7:30PM with matinees on Saturdays at 2PM and Sundays at 2PM. There are also Sunday evening performances at 7PM. This show runs through Aug. 26, 2018.

Tickets and Information: Consult the website for the Production Company Dimo Kim Musical Theatre Factory at https://www.dimokimfactory.org.

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‘Titus Andronicus’ is Big, Bold, and Bloody

Posted on July 24, 2018 by Karen Nowosad

The Shakespeare Theatre of New Jersey is known for their outstanding presentations of William Shakespeare’s plays. The time honored work of the Bard is always well performed and their current production of Titus Andronicus continues that tradition. This is the first time in 30 years that the Madison based company has presented what many call Shakespeare’s bloodiest play. This rarely produced offering lives up to its reputation and it is done in grand style. The current production has an excellent cast, fine staging and special effects, and it lets the audience feel a part of the action taking place. Surprisingly, there are moments of humor in it which help to absorb all the pain taking place.

Some of the devices used make the play more acceptable for today’s theater goers rather than audiences in Elizabethan times who craved revenge dramas. For example, there is no actual blood or even red liquid. Instead, pieces of red paper are thrown to simulate blood flowing. Very wisely, this production lessens some of the impact of characters as they are killed or maimed. With the rape scene, we see the girl going off and suspect, but nothing is shown of the actual brutal moments.

One has to wonder how audiences of Shakespeare’s day took to all the blood-letting. It appears that was part of the attraction of the show. We are better than that now. Or are we? When you think about it, today’s society might not be big on seeing the actual blood flowing; but it certainly seems to support a lot of violence in entertainment selections..Crime shows are popular on television. We allow many action movies to include scenes of people being harmed or killed in violent ways. We even let our children play video games where violence is at the core of the action.

The Story

. Pictured (left to right): Vanessa Morosco as Tamora and Chris White as Aaron. Photo credit: Jerry Dalia.

The main story of Titus Andronicus deals with revenge and the violence and destruction that comes with it. In his notes, Director Brian B. Crowe wrote, “This unsettling portrait of a society drowning in violence and seemingly bereft of civil thought or action holds a disturbing mirror up to aspects of today’s world.”

Typical of a Shakespearean play, the story has many parts to it. However, the most critical pieces deal with Titus, brilliantly played by Bruce Cromer, and the Goth Queen Tamora, played by Vanessa Morosco who is glamorously evil but equally divine in delivering lines that get many laughs. Titus shows no mercy towards Tamora’s son and has him killed. Determined to seek revenge, she sets her two sons, Chiron played by Quentin McCuiston and Demetrius played by Torsten Johnson loose to even the score. Both of these actors wear specially designed tattoos making them easy to spot through the crowds as they run around leaving behind a trail of devastation. One of their victims is Titus’ daughter Lavinia so gently played by Fiona Robberson whom they rape and maim.

Pictured (left to right): Fiona Robberson as Lavinia and Robert Cuccioli as Marcus. Photo credit: Jerry Dalia.

Titus’ brother Marcus, elegantly played by Robert Cuccioli, brings Lavinia back home to her father. If there was ever a desire for revenge, it is what Titus feels after he learns of her ordeal. And from there, plans are made to get back at Tamora and her family.

The superb acting of the company makes this a play to be remembered. A large cast gives the production a sweeping epic feel. In addition to the actors listed above and other featured roles, young artists from the Theatre’s renowned Summer Professional Training Program are part of the play.

High marks go to the Creative Team for their work on this production. A versatile set with stark visual landscape is from the creative talents of Scenic Designer Dick Block and Lighting Designer Andrew Hungerford.  Costume Designer Yao Chen uses period costumes and also incorporates a form of modern day suits into some wardrobes. Sound Design is by Karin Graybash, and an integral role of Fight Director is from Rick Sordelet. The Production Stage Manager is Kathy Snyder and the Assistant Stage Manager is Jackie Mariani.

There is a lot to absorb in this play. If not already familiar with the story, take a few minutes before attending to go over to the Shakespeare Theatre of New Jersey’s website and read about the show. A pdf file is available under the Know the Show tab for this show. Give yourself a chance to absorb the human frailties that Shakespeare writes about and see how they still exist in some format today.

Additional Information About Titus Andronicus

Running Time: Approx. 2 hrs. 45 minutes with one intermission

Location: The Shakespeare Theatre of New Jersey, F. M. Kirby Shakespeare Theatre, 36 Madison Avenue, Madison, NJ

Performances: The show runs now through Sunday, Aug. 5, 2018. Consult the website for performance days and times.

Contact for Info and Tickets: For tickets, patrons can call the Box Office at 973-408-5600 or visit www.ShakespeareNJ.org.

Special Pricing on Tickets: 30 UNDER 30 program for the 2018 season. Patrons aged 30 and under can purchase tickets for only $30 with a valid ID, subject to availability.

The Shakespeare Theatre of New Jersey offers various cost-saving opportunities, including $15 student rush tickets, which are available 30 minutes prior to each performance with a valid student ID, as well as a limited number of Pay What You Can tickets for every performance on a first come, first serve basis. Season Memberships are also available and provide significant cost savings throughout the year.

Special Performances: For the same price as a regular ticket, the Symposium Series performances offer a post-show discussion with the cast and artistic staff. For Titus Andronicus, the symposia follows the Tuesday, July 24 at 7:30 p.m., Saturday, July 28 at 2:00 p.m., and Saturday, August 4 at 2:00 p.m. performances.

The Know the Show pre-show talks are free-of-cost. Prior to the show, an artist from The Shakespeare Theatre presents a pre-performance talk providing background information and an inside perspective on the production. This program is free with the purchase of a performance ticket, and for Titus Andronicus they are on Thursday, July 26 at 7:00 p.m., with the show beginning at 8:00 p.m.

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‘Emojiland’ – A Fantasy with a Dash of Reality

Posted on July 23, 2018 by Karen Nowosad

Josh Lamon & Lesli Magherita In ‘Emojiland’ photo credit Jeremy Daniel

Emojiland is one of the 15 shows in the 2018 New York Musical Festival running through July and early August. With a book, music, and lyrics by the husband/wife team of Keith Harrison and Laura Nicole Harrison, Emojiland gives a whole new appreciation for the symbols known as emjois on your cellphone. The setting for the show is an imaginary digital world inside a smartphone. Add to that some fine music and few more subplots and you have a show that is basically a fantasy, but it brings in some contemporary political issues as well.

Thomas Caruso provides direction for Emojiland. Inspired by The Unicode® Standard, Emojiland advertises as a “Textistential Musical.”  It is a very enjoyable show to see. It does create a fantasy world filled with emojis that people use everyday on their smartphones.This may sound a little strange to say, but it almost seems like you know these characters as they appear on stage! These characters take on human characteristics and no longer are they symbols; they represent people or things that come to life.

A Word About Technology

The stage is set with a screen backdrop which uses all kinds of dynamic graphics on it. The graphics are especially enjoyable to see what it might look like to the emojis inside their imaginary world. A powerful use of the screen occurs when emojis are deleted and they disappear from the screen.

The Story

The story deals with everyone (or everything?) preparing for an update. None of the emojis quite knows their fate or who might come in as version 5.0 comes on board. As the installation happens, fantastic things occur onstage including a song, “The Progress Bar/Update” and flashes on the backdrop screen. A new character, Prince, is part of the 5.0. He takes away the power Princess enjoyed up until then. They bicker and finally realize they can share but want to avoid anything else threatening them in future updates. They issue a command to build a wall to protect the land from any new emojis coming in.

As the wall is built, Skull has a plan to end the emoji land. He enlists Nerd Face to help him launch a virus. The emojis do everyday things like go to work, prepare meals and fall in love. As a result, it is rather sad to watch as an emoji is deleted because of the virus; that’s how real these characters become.

The Cast and Characters

Lesli Margherita as Princess and Josh Lamon as Prince battle it out for who is the leader of the land. A love triangle is created by Keith Harrison as Nerd Face, Laura Nicole Harrison as Smize and Cooper Howell as Smiling Face with Sunglasses. Jordon Bolden as Skull works to destroy the emoji world by introducing a virus. Angela Wildflower as Police Officer falls in love with Megan Kane as Construction Worker. Jessie Alagna gets many laughs as Pile of Poo as does Brandon L. Armstrong who plays Guardsman. Chloe Fox serves as a narrator playing Information Desk. Playing one of the most unique character names is Alex G, Kunz as Man in Business Suit Levitating.

Music

Music is under the direction of Jonathan Ivie. Some of the songs are about particular characters such as when Smize sings “Sad on the Inside.” Although her face is constantly smiling, she sings about feelings she has inside of her that are sad and don’t match that outside; but she realizes there is nothing much she can do about it. The songs for Skull are very impressive especially “Thank Me Now” where he sings about getting out of the way they are living. There are several ballads including “A Thousand More Words” where Police Officer sings beautifully of her love for Construction Worker that is outstanding. Full company numbers are very well done especially “Stand For” about building a wall to keep others out.

Final Thoughts

 Emojiland has a lot of good things going for it that show promise for its future. New York Musical Festival genre billing for the show is Comedy, Drama, Sci-Fi, Fantasy, Politics. For a show that runs just about 2 hours, that is a lot to cover, maybe too much. The political aspect about building the wall takes too long to show up. It also gets lost in the second act as the virus takes over. Some rework in that area will help this show move on. The time just seems so right for it.

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