Prose poetry from Ria Burman

Snap! We’re All the Same

The grey shooting pyramid’s point stands prominent against brilliant blue as tourists aim cameras by the transaction of Broadway and Columbus with the Condor on the corner and the flying books with fallen words in front of the blue jazz mural bricks above. Andes Cosmos pan pipes float from beyond city lights. Here journals leather bound and images on street wall hold great possibility in alley cat scent as beat poet, deep set wrinkle line face folds and creases with gentleness. Water puddles from street cleaning, reflects anger from a man who sits and spits his life in monologue to the audience of a thousand ghosts inside himself by the entrance of City Lights. All we need is love. Where is his? Does science rule over everything else? No. There are things unknown invisible which float and heal, which touch and moves us. One needs to want this though. No judgment. Is it in genes? So many men sleep on streets, dirty beards with eyes glazed ~ the crazy eye glaze of lost soul. Peer through these windows for a second chill, the mysterious draw, the unknown knowing that something isn’t right here, the window to a room of rewind, of ghastly sorrow, of brokenness, of no return, of door slam shut, no way home, ghoul shock, moment of horror, frozen in time, for nothing to be the same again. Schizophrenia becomes company, walking hand in hand with constant static sound. No rest. No happiness. No forgiveness. Crazy sits on the corner of the street, angry as music and art appears around him and grows, dancing in circles and waves. The water puddles evaporate with the morning sun, the interval between songs is still, void now of shout streams of insanity as the sun slowly swings around Vusuvio’s.

Mister Chris Jeffries arrives walking down the alley behind green shades and an accordion with two friends carrying guitars like desperados. Gypsy jazz unravels itself, with crowds stopping, clicking photos, swaying smiling, notes flutter down to open empty case with nods of thanks and singing smiles. A fusion of music and art brings attention from wine sipping lovers sitting by the window above in the bar looking down.

Unknowingly, I hear a thought and say pardon to a woman with a long brown curly mane.

“I did not say a word. I am from Spain. This is my last day. I had to come down. I was upstairs with my boyfriend.” She points up; my eyes follow to a man, his head cradled in his hand, his face obscured by the reflection of the glass, z’s float through the open window. I look away. “I had to come down. I am a dancer.”

Later, she requests Spanish music. I see her dancing in the street.

“This is my kind of music.” She says, shaking her mane.

Later still, she strums a guitar sitting on the floor. Musicians share music, attention and time, juggling, smoking, dancing and talking. A celebration of strengths rejoices in the alley. Before she leaves, she appears before me and directs enchantment into my ear. The surprise of her holding my hands and the look in her eyes stirs emotion within. Tears form in my throat, I swallow them done. She leaves.

A guarded Parisian’s walls melt through stomp flamenco dance groove spin boogie, impromptu sing jamming and days spent outside together. The bashful, delicate flutter blink of her eyes meets mine through spins and laughter. There is space between for trust to grow as subtle attraction stems. In these times, communication is seldom with words, instead another plain, where indescribable notions appear invisible, a magic Cosmo roll around, children know without knowing, it lies in the innocence of all of this as we move through neutrinos, listening without ears, absorbing sensations, discovering new language. She is gentle and timid like a deer, with one stumble or loud rustle, she would dart away.

As the sun sets and the street lights cast fuzzy yellow glows over the alley, I bid farewell to the remaining sweet souls of the travelling photoman’s show. The Parisian deer will leave in the night for home. We embrace. On parting, the world again slows, like in those magic moments, which surprises us by appearing in the smallest words, actions, gestures, which poof appear and swoosh are gone forever; time stretches to the plain of what is. Something holds our bodies close, the connection unbroken, now face to face, in this sweet embrace of space, the air whispers with no words, gently it cradles us for centuries, we remain in the harmony we create, peacefully. I draw away, the connection parts, seconds tick like thunder as my mind kicks back in, dashing like it slept in for work to reconfigure, to catagorise something it can never fathom. The street becomes loud with chitter chatter and the moment has passed, collected in an ethereal scrapbook of wow.

The next day, a distant land phones.

“What have you been up to? Nothing. Loafing.” Asked and answered in half a breath by a man who I still hanker after for some connection, for some affection, for some acceptance, forever chasing an elusive thread which would connect. I agree with him, tired of justifying my existence.

Here I realize that unless witnessed, unless times are shared and experienced together by past reruns with new faces and different places or shock start right now understanding  or from future endeavours then others will not know, will never grasp what it is, that all could be seen as wasted, that all could be gathered and held as priceless. That we ultimately stand alone in the company of those who have forgotten and are playfully nudged wink reminded by those who still remember.

****************************************

The Woman and the Wind

We dance and for a second she forgets and feels free.
I see the beauty that is in her breathe
before a rooted thought of wrong doing enters and she kneels down,
blindly searching for the chain to shackle herself back into the cage.
For she loves the ones who created the walls
and she hasn’t the strength to break those down,
not when it means destroying all she knows.

I watch her sit there and hum so sweetly,
changing tears to a tune,
distracting herself with so many other things
which fills her time and her space,
but there’s no stopping the racing of a heart,
it’s a magic science, a crazy chemistry,
which bolts thunder claps from the brain to the belly,
that moves the body quicker than lightning and the mind blinded,
cannot keep up with the heart of the body.

Flash!

Her body moves with another of the same form,
like an ocean with the shore, over and over,
it soothes as it moves.
The light is followed with a BANG!
The cell door clatters open and slams shut with a bewildered wind,
as she remembers that all she feels is not allowed
and retreats out of a cherished love for those who fail to understand.

The wind does not strike her; it is not angry, but gentle and warm.
It cradles her when she’s sad and lifts her high when she’s feeling blue,
it does not control her with fear, but with comfort and love.
It tickles her and makes her smile,
all the time misunderstanding the black shape which moves on the floor.

The wind wishes to blow it away, it uses bigger and bigger puffs,
and afterwards is left exhausted.
The black mark is unfathomable to the wind.
”It’s still there, that dirty black mark which follows you around.
Why can’t you leave her be?” It howls.
And she cries out with a muted voice,
which echoes the temples of distant lands.
“It is a part of me!”

The wind howls again, anguished and sad,
blowing the words spoken away,
unable to hear them through distortion of pain.
It picks itself up for another gust and another,

“Why won’t it leave? The place will look so much cleaner
without that black mark which keeps following you around.”
It blows unrelenting,
like a house proud mother wiping at a stubborn wooden table top stain,
unknowing that it is a knot, a natural pattern of the wood.
“Please, let it be. It is a part of me.” whispers the wood and the woman.

The wind slowly stops dancing and becomes heavy,
which sinks her radiant smile and twinkling star eyes to black holes.
I see the blindness of the wind, blowing at the black mark,
with more gust and enthusiasm at seeing improvement and progress,
as the mark moves away by the power the wind possesses, or so it thinks,
only it does not realize, that it is her beloved that it blows into a ball,
over and over, tied in knots, until she cannot breathe.

The wind does not see the position she is in.
It does not see the vases knocked over and smashed to smithereens,
like salt bubbles that explode from her eyes
when she loses control and snivel sniff cries,
“I don’t want to be so sensitive to this,
but it scares me so much to be cold and unaffected by it all.
When I think of homophobia,
I think of bullies spitting comments in a crowd or on a street,
of hate crimes and terrible things like these.
I never in my wildest dreams thought it could be like this.”
Flowers lay unnoticed on the broken glass ground,
trodden on by all those others who don’t look down.
(and jeez, there are many, too many for there to be more)

Hold up ~
For all the guns in the world, that ends a life with less than a thought,
could we not shoot each other a smile from time to time and try,
just try to get along, it is after all only love.
The rest doesn’t really matter,
it is only love that connects us all, that gets us through~
Thank you, now back to the poem…

As the wind blows unrelenting at her shadow,
wishing for it to not be there,
she stands up strong and bold through the blinding, deafening gale.
She does not move an inch by the gust, her hair wild like flames licking up to heaven,
she says, “My shadow exists because I have found light,
for it to disappear I shall live in darkness,
and like the bird set free from its cage,
it cannot return, once it knows what it has learnt.”

The thing which she needs now more than ever, is not shelter from the wind,
but for the wind to blow down the walls it has created over time,
and hold her in acceptance,
for no one knows more than the wind,
how wonderful and important it is to be free from all these things.

Performance Review: Christopher Bernard on the Cutting Ball Theater’s productions of the works of August Strindberg

 

CHAMBER MUSIC

 

Strindberg Cycle: The Chamber Plays in Rep

By August Strindberg

The Cutting Ball Theater

San Francisco

Through November 18

 

A review by Christopher Bernard

 

Curiously, Strindberg’s five chamber plays have never been presented before in repertory (not even in Sweden, which is something of a scandal), which is as remarkable as if Wagner’s “Ring” had never been done complete, or as if nobody had ever had the idea of doing Shakespeare’s Wars of the Roses plays as a series.

Because, though each of these short, darkly poetic plays can be presented alone, and at least one of them, “The Ghost Sonata,” has had a long afterlife on the stage, in combination they form a chain of theatrical experiences of a density of cross-reference and tortured poetry of ever-deepening resonance and power. Looking back over the past century since their creation, one can see the forest of much of modern drama and even cinema – from O’Neill to Pinter, from Victor Sjostrom to Ingmar Bergman – sprouting from their much turned-over soil  San Francisco’s Cutting Ball Theater, which, as part of the Strindberg centennial year celebrations, is producing the cycle in repertory this fall, is thus doing the entire theatrical world a service.

More than a service; more like a gift. At least in the three plays I’ve seen so far, under Rob Melrose’s canny direction, with handsomely appointed sets by Michael Locher, beautifully judged costumes by Anna R. Oliver, the subtle touch of lighting designer York Kennedy, and the superbly crafted sound design by Cliff Carruthers – and above all thanks to a fine cast, about which more below – this production promises to be one of the Bay Area’s theatrical events of the year.

No small part of the beauty of the project is that The Cutting Ball’s tiny theater on Taylor Street in San Francisco is almost the exact size these plays were written for, creating an intimacy and intensity that are rarely found outside the finest, subtlest and most profound chamber music.

The plays I have seen are the last three in the series, but I wanted to get the word out before the series closes in November: “The Ghost Sonata,” one of Strindberg’s most famous plays, a tale of revenge gone out of control among a household of people locked in the past, recoiling in the end even on the avenger;  the ironically titled “The Pelican,” the most typically Strindbergian of the series in that it dwells on the love-hatred, mutual incomprehension and unfaithfulness, that so often informs the bond between men and women, and that seems to be Strindberg’s final assessment of the war between the sexes – a necessary evil in the evil necessity of life and its procreative compulsion; and “The Black Glove,” the last of the series, and a sweeter, tangier, gentler, and wittier conclusion than one might have expected from the oft-gloomy Swede. Even he can’t quite reach the conclusion, despite having had a hard time avoiding it, that human life is at bottom a sham and a waste of everyone’s time: after all, without being alive, we would never have the pleasure of watching Strindberg dissect human existence and find it so wanting.

In any play, of course, the meat comes in two portions: the script and the acting. And in the case of a script written in a foreign tongue, the translator has at least as much responsibility as the author – and in this Paul Walsh excels in turning Strindberg’s perfervid Swedish into largely plausible contemporary American English, in spite of a few tonal anachronisms.

But who gives life to a play? Who makes it breathe and live, fascinate our minds, bond our souls, thieve away our hearts? The actors, of course. And this cycle tests an ensemble like few others. Several of the actors should be singled out: Caitlyn Louchard, who appears in central roles in all three plays, shows a light touch and charming variety; James Carpenter provides his dependably strong presence in “The Ghost Sonata” and “The Black Glove,” wily and wise, cunning and dotty as need be; Anne Hallinan is a delight in the smaller roles, and gives almost alarming weight to The Cook in “The Ghost Sonata.” Carl Holvick-Thomas is particularly strong as Axel in “The Black Glove,” though he doesn’t show quite so secure a grip on The Student in “The Ghost Sonata.” In fact, the actors taking on the ephebes often don’t quite ring true. Strindberg is partly to blame: the lines he gives them don’t always ring true either.

David Sinaiko steals most of his scenes as the Puckish spirit of mischief and reconciliation Yule-Tomte in “The Black Glove”: who knew Strindberg could be so endearing, so sweet, so funny?

Danielle O’Hare, with her dramatic beauty, spare features and command of a gesture at once richly suggestive and sharply defined, brings a furious intensity to her role as the mother in “The Pelican;” her presence in minor roles in the other plays is as memorable as it is welcome. She seems to have walked out of a Bergman film to grace the world of Bergman’s prophetic ancestor.

 

Christopher Bernard is a novelist, poet, and critic. He is author of the novel A Spy in the Ruins and co-editor of the online arts magazine Caveat Lector.

“Pelican Ballet”: A poem by Bruce Roberts

Pelican Ballet

 

   Coyote Hills Park,  October,

          Still life in dry and brown

            Weeds, grass, rock

  Sand surprised on the bottom

       Of once well-watered wetlands,

          Now gasping through Fall

                  Til rain.

 

        But in one struggling pond—

            Lucky in water—

          There is movement.

                  Pelicans—

            Flights of pelicans—

               Lift themselves

    into the air,

first one group,

  then another,

  and another,

six, seven, eight—

          squadrons of pelicans—

           some thirty strong–

spiraling skyward

       against the cloud-white,

against the blue.

             Tilting together,

         their dark underside

           Like a silhouette,

            Then turning,

            Disappearing,

         Only to flash back

               White,

               Tilting

        Leisurely Blue Angels

               Circling  

     In silent perfect formation.

 

          Higher and higher,

           Over and over

           They dance

          As we watch

       Stuck to the ground

             Amazed

             At this

        Graceful display

               of

         Whirled peace!

 

                  Bruce Roberts, 2012

 Bruce Roberts, who may be reached at brobe60491@sbcglobal.net, is an accomplished sculptor and schoolteacher from Hayward, California. 

Performance Review: Cristina Deptula on the Tom Sway Orchestra’s performance at the StageWerx Theatre

Who knew that at thirty years old, I’d still get excited over songs about trolls, rocks, and Rapunzel? I did last night at StageWerx Theatre, now tucked away among the curio shops, ethnic markets and avant-garde galleries of the Mission District.

The show was part of the Underground Sound series, taking place every second Sunday evening at StageWerx and designed to showcase new music. The intimate, freshly renovated venue allows audiences to hear the lyrics, and is sparsely decorated in black and white to draw attention onstage.

The first opening act, guitarist and singer Bryan Hill, serenaded us with a few tightly crafted, thoughtful pieces, including a bluegrass blessing his grandmother used to sing to him as a child. Then, to perk us up before Jhene Canody took the stage, he played a livelier tune about a man and his pet dog.

Canody mixed some poignant, dreamy pieces, laments for love gone wrong and right, with a few peppy, humorous fantasy ballads. One related the tale of a dream wedding to Jack the Ripper officiated by her fifth grade teacher, and another gently described the awkwardness of feeling so much more privileged than others for no good reason.

After an intermission, singer and songwriter Tom Sway took the stage alone for his first three pieces. Although his songs were quite fast and I couldn’t make out every word, he caught my attention with his energy and facial expressions. Sway knows how to engage an audience, entertaining with his persona in a way only a live show can capture.

While often playful, Sway’s lyrics never became corny or ridiculous because of his subtle observations about life and human nature. His first piece, an upbeat fantasy about a lake with tiny rocks and hermits fishing where there are no fish, but he worked in mentions here and there about the tragicomedy of life. Not enough to sound self-consciously ‘deep’, but just to make audiences take a step back and reflect.

Another song, my personal favorite, tells of a man fascinated by a female dancer/mermaid/mythical creature who steals and then returns his car. He panics, but when she comes back, he ends up going with the flow and enjoying being with her. Although clearly fanciful, the piece made me think of how many times in life I feel sidetracked or frustrated, then decide to just be okay and live in the moment.

Later on, along with emcee Bruce Pachtman on drums and Phil Casey on piano, he performed a set of longer, perky pieces. These included a jazz-esque love song, a long storytelling session about searching for treasure in the desert, and a remake of the Rapunzel tale, which got us tapping our feet and relating to the characters’ loneliness.

Sway refers to his musical group as an ‘orchestra,’ from which he decided to eliminate brass, strings and woodwinds for playful reasons. The orchestra provided interesting and complex accompaniment, complementing and sometimes mellowing out Sway’s onstage personality. All three performers came together nicely for the last piece, a group signature tune about a deserted Midwestern high school football stadium that left me clapping in rhythm and remembering my teen years.

Tom Sway’s a native to San Francisco and writes his own songs. His music’s very accessible, fun to listen to, and a good alternative to angsty or inane tunes you might find elsewhere. It’s worth catching the next time you’re in town, live if possible!

Cristina Deptula is a writer from San Leandro, California. She can be reached at cedeptula@sbcglobal.net.

Poetry from Michael Dickel

TABULA RASA

Blurred snow-
washed moraines,
wind-cloaked distance:

storms.

Sleeping stargrass,
surrendered bluestem,
buried gentian, all

frozen.

I do not love
you or anyone—
just another

man

content the moment
shadow crosses
indifferent drift.

 

ONE NIGHT WHEN YOU WERE NEAR

The breath through white pines outside this window
soothes by mimicking rain sound.
Ticks master deception—their movements
disguised as evaporation or
tickling breezes or the slight sense of another
as they slide up a leg or the inside of jeans
until they latch on and dig their mouths into skin
and become
a news story here about murder,
a news story there about rape—
discouraging and fearing us at once,
as they drain our blood,
infect us with lyme disease, indifference,
isolation. Tired, our joints aching,
we don’t know what to do.
Then a lightning bug flashes
in the dark summer night.

 

RECIPE

one cup of consider a moment the voice of reason spewing sprockets sprayed story edits the road mud half-cup of experience a narrative constructed piece by piece from gravel and dirt and blood and tears reduce hours on the stove boiled to nothing but imagined flavor intense in commerce mix with green salad dollars’ empty calories a tablespoon of worn skirt-like seven veils stripping off dollar after dollar mix in two naked breasts one belly one patch of hair through which peak the full lips that do not speak in this room broom closet add my mouth lingering to lick those lips and taste that truth a flavor better than all of the gravelly reductions road bed place on your bed soft and downy and wide white clouds so I fall into the heat of your skin erasing any reason not to experience the moment consider no narrative but dancing entwined naked bodies reduce us to this moment of release pent up and drawn out and everything we ever wanted to be tasted deeply over time nine courses per meal

 

A GATHERING OF STONES

I gather stones from ocean, sea, lake, river, stream, and the dry desert wadi; to protect my straw life from the storm winds of time they line the walls, shelves, walks, and a small corner rock garden. Snow buries them in winter, the outer ones, and the inner turn invisible beneath plaster and book dust as these stories and poems renovate the narrative, revise my living space into something that might hold up to erasures of climate, and my life into—something. Long after my DNA strands become a statistical probability chancing in some descendants’ groins; long after the house falls to dust, the garden to weeds, the shores of the oceans and seas recede, advance, the lakes come and go, the rivers dry and flood, the wadi erodes to flatlands; long after all of this; a few stones out of place here in a row, there in a pile, might attract some little notice, a bit of curiosity. This flint tool from Baak’a in Jerusalem.  This agate from Lake Superior. Amethyst from Ontario. Lava from Hawaii. Mica from Pennsylvania. Polished smooth granite. In some way, someone may ask. Where did such stones come from? When?  How did they end up here? Why? What story do they tell? Who gathered them in? I will only pretend to know the answers.

 

Michael Dickel’s prize-winning poetry, stories, & photographs have appeared in journals, books, & online—including: Sketchbook, Zeek, Poetry Midwest, Neon Beam, why vandalism?, & Poetica Magazine. He lives and works in Jerusalem at the moment. His latest book of poems is Midwest / Mid-East: March 2012 Poetry Tour ( http://www.amazon.com/Midwest-Mid-East-March-2012-Poetry/dp/1105569136).

Synchronized Chaos, October 2012: Nature and Society

At first glance, it might seem that modern American society—with its technology, its towering cities, and its cultural achievements—is far removed from the natural world. But is this really the case? What, precisely, are the differences between human culture and the world of the wilderness? And are there closer connections between the two than there might seem at first sight? The October 2012 issue of Synchronized Chaos takes a look at these questions. Some of the pieces in this issue deal with various characteristics of human society—art, religion, traditions, cultural differences, and more; others serve as examinations of nature, its processes, and its animal inhabitants; and still others explore the intersections between the two spheres. We think you’ll be very interested in the pieces which follow…

One particularly interesting elucidation of the links between humanity and the natural world is an anonymous short story “Taking Ohio.” It takes place in the proverbial middle of nowhere, in the bleak beauty of Mideastern America, but into this setting comes a pair of very modern travelers, whose meeting with an unusual hitchhiker leads to unexpected difficulties for all three. The wilderness serves as a fitting backdrop for the tale’s raw exploration of human emotions.

A similar outdoor setting can be found in Josie Weidner’s poem “Landscapes,” which memorably compares the “tiles” of an open field, with their differently-shaped and shaded patches of grass, to the manufactured patterns which can be found on the kitchen floors of America’s homes. Once again, the wild and the domestic are not quite so far apart as they may seem at first sight.

Perhaps this issue’s funniest depiction of the human-nature connection comes from Loretta Breuning, whose comedy monologue “I, Mammal: How I Evolved from Lizards, Apes, and Thugs” is printed here. Taking the form of a tour guide’s spiel to the patrons of a zoo, the piece describes the behavior of elephants, monkeys, lions, and other wild beasts as being uncomfortably similar to the actions of human beings. The animal kingdom also comes up for discussion in two of this issue’s featured poems: Mykel Mogg’s “Mercy,” which features the disturbing fate of a fish at the bottom of a well and the voice of a narrator who’ll be very difficult to forget, and Bailey Van’s “The Minnow Dance,” which juxtaposes the activity of a school of glittering fish with the erotically-charged interactions of two people.

Bailey also contributes three other poems to this issue. Each of them features exquisitely-composed imagery from nature, with excellent evocations of the golden beauty of summer and the cold harshness of winter. And the world of nature is also the setting for three poems by Abigail Schott-Rosenfield, which take us through forests, fields, and mudflats. Life and death, sun and rain, fire and snow—all are depicted here with equal skill.

Each issue of Synchronized Chaos features Leena Prasad’s column Whose Brain Is It? In this month’s installment, “Rachael’s Defenses,” Leena makes a thoughtful exploration of the topic of racism, discussing the ways in which natural brain chemistry can combine with societally-created biases to lead towards (sometimes unconscious) expressions of racial prejudice.

Wherever there is life, there must also be death. It’s not always the most pleasant subject to contemplate, but death is an inexorable and inescapable part of nature, and it’s intimately explored in a few of our poems this issue. Regular author Sam Burks contributes three dark but fascinating works, and two of them explore the theme of mortality: “Death,” narrated by a living personification of its title, and “Last Meal,” which draws an unforgettable symbolic connection between the acts of murder and deception. Meanwhile, Christopher Bernard’s poem “Olympian,” at once touching and insightful, lays its scene in a graveyard and takes as its subject the memories which live on after death.

Regular poetic contributor Linda Allen takes on both halves of this issue’s theme. One of her two poems this month, “Hello Autumn,” features beautiful depictions of the arrival of fall and the constant natural cycle of the changing seasons; the other, “All Hallows Eve,” depicts a longstanding cultural tradition celebrated at the end of this month in countries around the world (often with ingenious costumes and plenty of candy!). J’Rie Elliott, another of Synchronized Chaos’ most frequently-seen poets, also takes on the subject of Halloween this month in “Meeting the Dead…”, a set of verses which combines the innocent fun of childhood with the unexpected terror of a much darker subject.

Synchronized Chaos has a number of contributors who make their home in the Bay Area, and some of this month’s pieces deal with aspects of the regional culture. Christopher Bernard, making his second appearance in this issue, was in attendance at the 21st annual San Francisco Fringe Festival in early September—one of the city’s best and most unique theatrical events. Christopher’s article features his thoughts on four representative selections from the festival’s dramatic feast. For another take on one of the most notable pieces from the festival, Angela Chang’s musical “Legacy of the Tiger Mother,” take a look at Joy Ding’s review here. We also have a feature piece on local hip hop artist Bink$ Win$ton, whose new EP “MANish” is scheduled for release soon. In this issue, we’re presenting the music video for one of his recent songs, “STOP,” which was filmed directly across the bay in Oakland.

Elsewhere in the issue, the societies of many other nations are under discussion. Georges Bizet’s masterful 1863 opera The Pearl Fishers takes place in the distant past on the island of Sri Lanka (then known as Ceylon), and Bramani Spiteri reviews a recent staging of the piece by the talented performers of Opera San Jose. Also featured is Nigerian poet and screenwriter Emmanuel Ikem Bertrand, whose essay “There’s a Land Beyond These Waters” urges its readers not to forget the multitude of cultures outside of their own horizons and reminds them of the importance of helping those in need.

Almost all lovers of literature and stagecraft know the name of Oscar Wilde, who scandalized Victorian society with the brilliance of his art and the controversy of his actions—but how many are familiar with his niece Dolly (1895-1941), an equally flamboyant figure who made her mark in the Parisian culture of the early twentieth century? Lily Sauvage’s play The Importance of Being Dolly deals with the life of this intriguing character, and in this issue we report on a cold reading of an upcoming production, attended by one of our reviewers..

Another of our poems for this month is an examination of religious culture and tradition: Shanna Williams’ “Do Not Destroy,” an introspective and thoughtful piece which touches on the nature of community as well as the ethics of believing in God.

We hope you enjoy this month’s issue of Synchronized Chaos! As always, feel free to leave comments for the contributors; if you’re interested in submitting some of your work to the magazine, please send it over to synchchaos@gmail.com.

Performance Review: Joy Ding on Angela Chang’s Legacy of the Tiger Mother

Review: Legacy of the Tiger Mother

by Joy Ding

Whether you are fortunate/unfortunate enough to have your own tiger mother, or simply curious about what it’s like to have one, you’ll find plenty to satisfy you in Legacy of the Tiger Mother, a semi-autobiographical two-woman musical written by Angela Chang. In Legacy, we meet Lily (Satomi Hoffman), a first-generation Asian immigrant and her daughter Mei (Lynn Craig), a second-generation Asian-American, and get to witness the thirty-something years of their tumultuous relationship with each other, and the piano.

If you’re looking for music, Legacy fulfills its identity as a musical in more than one way. Not only are there Broadway-worthy songs such as the crowd-pleaser “Lazy White Children,” and heart-wrenching duet “Something Better,” we also get the pleasure of listening to Mei’s progression on the piano as she grows up. Chang, who plays the piano from off-stage, fully captures the full progression of Mei’s piano ability, from the stumbles and missed notes of a beginner playing Mozart’s variations on Twinkle Twinkle Little Star to the more difficult pieces Mei plays as she gains confidence and ability.

Actors Satomi Hoffman and Lynn Craig exhibit remarkable range in Legacy, under the direction of Lysander Abadia. Craig does an admirable job of portraying Mei at each age level. While the initial whininess of a young Mei is off-putting and hard to believe in “Suzuki Prayer,” by the time she sings “Little Miss 1986,” Mei has become more realistic. Paired with the wistful refrain of Little Miss 1986, a refrain strong enough to bring anyone back to childhood and the feeling of being excluded and unpopular, Craig’s breathy treatment of the song is delightful. You’d swear Craig were a metal-mouthed schoolgirl, just back from a braces retightening. Hoffmann, as Mei’s mother, captures the many facets of Lily, whether it is her fierceness and authority, her unabashed opinions about parenting and other people’s children, or her instances of uncertainty in private, when she does not have to maintain an impenetrable veneer of strength for Mei. Hoffmann is also a master of the small gesture; for instance, some cringe-worthy rhymes in “Letting Go” are all forgiven for the one transcendent moment at the end, when Lily grasps the piano and sings “she’ll always be our little girl.” In that one movement we see Lily views the piano as a partner in raising Mei, not a mere object.

Legacy, however, does fail itself in certain moments when it repeats stereotypical comedic material for easy laughs. For instance, any of the times Lily sees fit to intone a Confucian saying (“Confucius say…”), I felt my heart sag. Or, when Mei threatens a too-loud Lily by saying, “Ma, don’t make me smack you with my chopsticks.” Yes, one could argue that these moments are covered by Legacy’s billing as “a slightly exaggerated story,” but these particular exaggerations are also neither novel nor interesting. In a musical that succeeds on the strength of Chang’s ability to recreate the truth of her experience for others by creating a fictional narrative, these moments of forced humor stand out as moments of falseness.

In contrast, at the end of the musical, Lily and Mei get to have a resolution that is as emotionally resonant, truthful, and satisfying as any I’ve seen on stage. They start out bickering about their differing approaches toward parenting and end in a furious, tumultuous argument with the highest stakes possible: whether Lily has ever loved Mei. Mei contends that Lily was happy to get rid of her, citing Lily’s selling of the piano as soon as Mei left for college. Shocked, and teary-eyed, Lily tells Mei that she sold the piano because she couldn’t bear it that Mei was no longer around to play it. And the perfection of that moment of understanding, and then the moment afterwards, when Lily reaches toward Mei and you think she’s going to take Mei’s hand, but instead, she wraps her own arm around Mei’s arm — the awkward affectionate gesture of a mother and daughter who don’t touch much – is painfully recognizable. It is a gesture that I recognized with heart-breaking clarity as one that my mother has used when she’s feeling particularly emotional about being a mother, like this spring, at the end of Brave. My mother left the theatre saying: “That’s just who I am. The bear-mom who would do anything for her children.”

So, does Legacy of the Tiger Mother succeed?

Well, judging by the amount of happy people at the end of the show – some relating stories of their own childhoods, others laughing about the lyrics in “Lazy White Children,” and, yes, several Asian and Asian American mother-daughter duos walking arm-in-arm to the exit – resoundingly yes. In fact, I wish my own mother had been there to watch it with me.

This reviewer applauds the Legacy team for bringing this story to the stage, and looks forward to seeing more work from Angela Chang.

 

Joy Ding is a freelance writer, editor and marketer living in San Francisco. She might start playing the piano again after watching this performance.