El Chupacabra terrorizes the alternate reality of a cartoonist turned comic book hero, in the 2018 Two River Theater production EL COQUÍ ESPECTACULAR AND THE BOTTLE OF DOOM. Photo by Richard Termine
Published in the Asbury Park Press, December 28 2018
Star-powered casts — and a set of new and diverse voices — set the pace for the live theater stages of Monmouth and Ocean counties in the calendar year 2018. The area served by the Asbury Park Press continued to draw the attentions and the talents of some top-shelf pros, even as its many creative crannies proved that the most interesting things can occur in the most unlikely of venues. Here are a handful of the Great Performances and all-around Good Things that we happened across in the year that was.
Bemoaning the fact that comic book characters seem to be hijacking the entire mass culture? Well, get over it, because back at the top of the year, Red Bank’s Two River Theater set the pace with a “superhero play” of supercharged energy: the intriguingly titled El Coquí Espectacular and the Bottle of Doom. Emerging from Two River’s annual Crossing Borders festival of new Latinx plays, the play by Matthew Barbot succeeded where the mighty Spidey and Superman fell short in their respective musical misadventures; investing its story (of a young unemployed Puerto Rican-American artist turned self-styled costumed crimefighter) with a choreographed visual verve that played, under the direction of Jose Zayas, like a musical minus the music. Throw in a layered plot that segued smoothly between the alternate realities of the dual-identity protagonist, with projected images that heightened the shift between parallel worlds, and the result was a dazzling cultural satire that compared favorably with the company’s trailblazing premiere production of the musical phenomenon “Be More Chill.”
Over at New Jersey Repertory Company in Long Branch, some new faces arrived in town with April’s production of Chloe Hung’s Issei, He Say — and those newcomers had a compelling story to tell, in the Chinese-Canadian TV writer’s semi-autobiographical account of an immigrant family’s struggles with assimilation, aspirations, and the next door neighbor, an elderly gentleman of Japanese descent. As the play’s 12 year old central character, Christina Liang headed a superb cast in a drama that placed a perfectly constructed, intimately scaled frame around the big issues of blinding prejudice, national tragedies, home-front secrets, and the things people use to forge alliances in the darkness. Continue reading