Narea Kang and Nicole Javier in South Coast Rep’s The Heart Sellers by Lloyd Suh. Photo by Robert Huskey/SCR.
Yes, the blog is back, after a long hiatus. If the government can do it, so can I. Anyhoo, as things stand you have until Sunday (Nov. 16) to get yourself down to South Coast Repertory and catch the new play “The Heart Sellers” by Lloyd Suh, if you haven’t already. If his name sounds familiar, perhaps you saw Suh’s “The Chinese Lady” at The Chance Theater earlier this year. In any case, I think we’ll be hearing more from this playwright in the near future; I hope so.
The magic of the play is difficult if not impossible to capture in a summary, but in essence it’s about two young women, one Filipina, one Korean, who spend Thanksgiving Day 1973 together following a chance meeting in the supermarket. They share wine and yams and chat about everything from politics to porno movies, and how the rain smells different in America. Recent immigrants, they talk about the difficulty of leaving home behind, where the heart remains.
The play is brilliantly directed by Jennifer Chang, whose skilled hand on the reins becomes even more obvious when reading the script. In performance the piece is full of non-verbal moments and nuances—awkward pauses, gestures, the playful handling of props—that are far more than just “stage business.” Chapman University alumna Nicole Javier and Narea Kang make the most of Suh’s words and the silences between them. Info: scr.org.
Pacific Symphony’s new Artistic and Music Director Designate Alexander Shelley made a strong impression at the Renée and Henry Segerstrom Concert Hall last month, conducting Rimsky-Korsakov’s “Scheherazade.” Anyone worried about whether this “newcomer” (who travels the world conducting symphonic, opera and ballet repertoire) can handle the baton need not be concerned.
The guest artist providing the appetizer as it were, for “Scheherazade,” was Spanish virtuoso guitarist Pablo Sainz-Villegas. The young man offered a stunning display of his talents, especially with his dynamic opener, Arturo Marquez’s Concerto, “Mystic y Profano.” Jessie Montgomery’s brief “Starburst” provided a lovely prelude to the evening.
What’s next for Pacific Symphony? Glad you asked. Shelley returns to the podium at SCFTA Nov. 20-22 to conduct Bizet’s “Carmen” and Ravel’s complete “Daphnis and Chloe.” He then sneaks over to Soka University Nov. 23 for Beethoven’s Symphony No. 7 and Mozart’s Violin Concerto No. 2, then comes back to SCFTA for Tchaikovsky’s “Swan Lake” Dec. 4-6. Info: PacificSymphony.org.
Speaking of ballet, were you lucky enough to catch the San Francisco Ballet’s visually spectacular “Frankenstein” last month at SCFTA? Special effects such as one rarely sees in ballet or modern dance were employed to great effect, courtesy of Finn Ross’ projection design. Lowell Liebermann’s terrifically atmospheric music and David Finn’s lightning enhanced the production as well.
All of the above almost distracted from the dancers, who make superlatives seem wholly unsatisfactory. Wei Wang, who danced the role of the creature opening night, was a joy to watch. Joseph Walsh (Victor Frankenstein), Frances Chung (Elizabeth) and the rest of the company were wonderfully inventive.
Coming up at SCFTA: “Nutcracker” for Kids, Dec. 6; American Ballet Theatre’s “Nutcracker” Dec. 11-21, which I can highly recommend; “The Wiz,” Jan. 13-25, 2026; “Monty Python’s Spamalot” Feb. 17-22; Patti LuPone Feb. 18; “Six” Mar. 10-15. Info: SCFTA.org.
Recent Comments