“A Mulholland Christmas Carol” Theatre of
NOTE Through Dec. 21
Let’s be honest; Los Angeles is unlikely to have a Dickensian postcard white Christmas. Nonetheless, “A Mulholland Christmas Carol” manages to bring a taste of Dickens into Hollywood’s smoggy air. The Theatre of NOTE presents its tongue-in-cheek musical, which parodies Dickens’ famous tale with Scrooge as L.A. legend William Mulholland. In the play he’s uncompassionate in his tyrannical drive to build the L.A. Aqueduct. The characters mock the fantasies of the California dream, hilariously illustrated through caricatures of American, Irish, Mexican and farcical London cockney accents. Behind the kitsch humor are obvious digs at how the dream corrupts and ruins, but you may be laughing too hard to notice. The Ghost of Christmas Present strides on as Teddy Roosevelt mocking the “headless horseman” by carrying a toy tiger head under one arm. His arrival provides some real laughter, as does a young Mulholland’s “sincere” ode to the L.A. River. At times you may grow tired of the actors’ “aren’t we clever” pauses to glance at the audience. You may also find yourself struggling to get the references to California history. Mostly, you’ll be giggling harder as the play progresses, and tapping your feet to the witty songs. Christmas in Hollywood is very funny. - Anna Whitwham
“The Tempest” David Henry Hwang Theater
Through Dec. 15 (213) 625-7000
In the East West Players’ production of William Shakespeare’s “The Tempest,” the Asian American theater troupe conjures a magical world of light and shadow, harmony and discord, a world of ethereal visions. Andrew Tsao, director and writer of the brilliant adaptation, emphasizes opposing forces to show that each force in life cannot exist without its opposite. Most of the actors skillfully assume double roles, emphasizing the duality of human nature. Gwendoline Yeo plays both Miranda (Prospero’s virginal, love-struck daughter) and Ariel (Prospero’s spirit slave). The contrasting faces of sexuality, mischief and innocence manifest in a single actor, who convincingly glides between the two. Matthew Yang King plays Caliban, the half man, half beast who plots to murder Prospero, as well as Ferdinand, the man who professes his love to Miranda. King’s skillful performance highlights conflicting facets of man: the evil beast and the lover. One standout scene features a long, translucent red cloth, guided by a spirit bearing a rod topped with the yin-yang symbol. The cloth envelops Miranda and Ferdinand after their marriage. The stage blacks and a light projects Ariel and Caliban’s dancing, fighting shadows onto the cloth. The beautiful scene embodies the thought-provoking dualities in the play. The many dichotomies probe at issues of unity and balance, the melding of Eastern and Western traditions, like yin and yang. - Kathleen Mitchell