REVIEW: King of the Yees (Signature Theatre)
Preview: A play about a writer writing a play about a writer writing a play about a writer who does not fit in with their traditional cultural upbringing. No, we’re not talking about A Strange Loop, we’re talking about King of the Yees, the eponymous Lauren’s deftly funny semi-autobiographical goose chase, now playing at Signature. I’m an established fan of Yee’s work as-is, especially after Cambodian Rock Band blessed our shores at Arena Stage earlier this summer. The more the merr-Yee-er!
Book: “Lauren Yee” is in the middle of rehearsing an autobiographical play featuring a fictionalized version of her dad Larry with some local actors in San Francisco. When Larry himself crashes the session -- it is being rehearsed in his Yee Fung Toy social club, for Yee men and by Yee men, after all -- things get awkward. What he doesn’t immediately realize is that the play is moreso about him. (It’s all an exercise in Lauren’s analysis of her upbringing and Chinese roots in the city.) Interpersonal conflict ensues, culminating in a revelation that causes Larry to go into hiding. Riddled with guilt and worry, Lauren embarks on an adventure around the city to rescue him and their relationship. The hijinks that unfold prove substantially entertaining, full of incredible scene-stealing performances rife with deep cultural cuts and jolting personality. Several performances stand out, highlighted by their limited use. Bang-for-buck, Yee’s characterizations, even of the minor characters, is a force to be reckoned with. My only real complaint with the book is length: this is a common one these days, but yes, it’s not suited for two-act life. The entire first act covers an indulgence of exposition set almost entirely in one room. Knowing the premise, I wondered when we would cut to the literal chase, but I can imagine going in blind would also create confusion as to when things pick up. 9/10
Acting: Ashley D. Nguyen is delightful as the hero-playwright, and though limited in stage time, Grant Chang delivers a thoughtful portrayal of Larry Yee. Who really ties the production together are Actors 1/2/3 (Jacob Yeh, Sylvia Kwan, and Nicholas Yenson). Each playing several characters, the range that this trio delivers is the energy source of the action, providing conflict, comic relief, tension, and focal points all at once across both acts. Particularly impressive are Jacob Yeh as Shrimp Boy (⚡⚡), a local gangster, as well as the actor playing Larry in Lauren’s play. Yet, who truly steals each scene is Yenson, playing unsuspecting audience members (a great inclusion from director Chang), and the unforgettable Elder Yee, whom Lauren visits at the climax of the show. He is absolutely Giving(tm) in this brief appearance, creating a wonderful full-circle moment of someone initially unsure if they should enter the show in Act I to someone who is pivotal in the ultimate direction of it by the end. 8/10
Production: Not being even halfway utilized until the second act, the technical design impresses. Humorous lighting effects (all Minjoo Kim) at the mention of certain names evolves into lush neon outlines, and quick blackouts make for hasty and effective transitions. The primary central space emulates the multi-purpose room that the show opens in, and on it lies the circus of snappy scenes that all art anchored by the looming presence of the Door. Dance floor? Liquor store? Public park? Jennifer Chang directs the production so well that less truly is more in many regards; and sometimes more is more, too. Such as the lion dance twerking scene, a sentence I never thought I’d write, and the horrific face-stealer interaction that introduces a jolt of dread and malice expertly. In fact, I wish more shows would try to boost the eerie factor if it makes sense to. These two scenes in particular are brought to life by Helen Q. Huang’s stunning costume work. As mentioned, almost none of these great tech elements are present in the drab first act, but it rushes back to life with the inventive direction of the second. 6/10
VisDev: Pre-show staging emulates the interior of the Yee Fung Toy social club, with its crossed orb lights and windows at stage rear that peer out over San Francisco’s Chinatown. The focal point is the doorway that towers over the stage floor, an ornately crimson design by Orellana. In the background, piano covers of pop songs compete with audience chatter (that part I didn’t quite get). Program art, usually a source of ire in my reviews of Signature productions, is actually quite solid this time around. A bewildered Chinese woman tries to hold back the aforementioned door as several elements of Chinatown’s culture burst out of it; chaotic, colorful, and direct, it paints a great picture of what is to come. 8/10
VERDICT: Yees is an entertaining comedic analysis of the playwright’s own heritage, stuffed with intriguing cultural commentaries surrounding a heartfelt projection of belonging and familial values. 33/40
