I'll be directing Big Hunk o’ Burning Love by Prince Gomolvilas, showing at Rude Guerrilla Theater from May 15 thru June 20. In this comedy, a young man finds out from his worried parents that he will spontaneously combust if he doesn’t get married by the age of 30….and his birthday is just a week away!
I'll be needing crew as well as actors for the mostly Asian cast. Stay tuned for more details.
Showing posts with label directing. Show all posts
Showing posts with label directing. Show all posts
Big Hunk O'Burnin' Love coming up
Helltown Buffet review by KUCI's Keith Dillon
Review from Keith Dillon's broadcast at KUCI
Helltown Buffet, September 12th through October 18th, 2008.
A production of Rude Guerrilla Theatre, 202 N. Broadway in Santa Ana, Ca.
For tickets and information, call 714-547-4688 or log on to rudeguerrilla.org.
Halloween is here again. You can tell that by the plays being offered at the local theatres right now. Take, for example, Aurelio Locsin’s Helltown Buffet, currently running at the Rude Guerrilla Theatre in Santa Ana. Helltown Buffet is a tale involving a bitched-out succubus and her cruel-hearted demon assistant, an inept wannabe whose tendency towards romantic entanglements keeps him one horn short of full demonhood, a flamboyant coiffeur who cares not where he goes after death as long as he can dress people’s hair and an unassuming young Filipino-American boy who opens the local Hometown Buffet to murder in the name of love.
The first act of Helltown Buffet is as campy as they come. Long time Rude Guerrilla company member Aurelio Locsin gives us a first act that is a silly tale of demons and blood and epicurism. Much of it feels fairly routine, although the bit about making a buffet out of Hometown Buffet patrons is fascinating.
In Act Two, however, the play becomes beautiful. Mr. Locsin’s second act is spiced with Filipino culture. Upon his death, the play’s protagonist, Benjie, is sent to the Filipino sector of Purgatory. Mr. Locsin’s purgatory is racially segregated as it turns out. Act Two introduces traditional dances punctuated by jokes about life in America as a Filipino and funny little object lessons about the history of the Filipines. Benjie is brought back to the history that bore him. Even if he wanted to, Benjie simply cannot escape that history. His history, in fact, saves Benjie from his demon lover Paco who after all is still a demon, despite the sincerity of his affection.
Don’t kid yourself; Helltown Buffet at its roots is nothing more than Halloween camp. There is nothing profound about this play. Even as camp, it’s still a little too broad, a little too underdeveloped. The introduction of Benjie’s cultural history into the second act, however, makes it worth the ticket. I might add that on the night I came, several folks in the audience seemed to enjoy themselves throughout; all I can do is write my reactions. Anyway, the production is directed by Mr. Locsin himself; it is light-hearted and fleet of foot.
Especially notable among the cast is Alexander Price as the Etienne the hairdresser. Mr. Price plays his over-the-top hairdresser with enough wit and joy to keep his audience near tears throughout his entire performance. His explanation of the gates of purgatory is uproarious. Trina Estanislao’s Spirit is so disorientingly clueless that just about every line she speaks is a laugh line. Ms. Estanislao also dances her simple cultural dances with authority and affection. Ashley Jo Navarro is appropriately air-headed as Cloud. As Madame Loveless, Maggie Zamora is just a little too nice; Maggie, think Vanessa Williams from Ugly Betty. Rick Kopps, on the other hand, plays her assistant Grom with moustache-twirling joy. David Tran is cute as Benjie, whereas Brian Chayane Salero seems out of place as Paco Johnson.
The production is fleet of foot, requiring few sets. With the exception of a curtain running upstage of the action, the sets are walk-on units like palm trees, desks and such. The decorative items deliberately look like something from a nightmare Junior Prom. The sets are uncredited. Ryan Joyner’s lights are occasionally funny, especially at places like the gates of purgatory. Sarah Boros’ costumes are an interesting blend of Hometown Buffet uniforms, leather and traditional Filipino wear. The dances are choreographed with great care by Lee Samuel Tanng and the fights Jami McCoy are well done. Camp is the taste on Halloween. Helltown Buffet is very much to that taste, but author Aurelio Locsin has both the courage and the foresight to lace his show with his own traditions. Those traditions make Act Two a thing of authentic charm.
Press Release for Helltown Buffet
For immediate release!
Rude Guerrilla presents the World Premiere of HELLTOWN BUFFET September 19! Rude Guerrilla Theater Company is pleased to announce the World Premiere of playwright Aurelio Locsin’s black comedy HELLTOWN BUFFET as the ninth production in its eleventh season. Can a Hometown Buffet manager and his hunky demon seducer fall in love through their real and imagined histories? This dark comedy propels them from Orange County to several afterlives, prompting encounters with a sexy demoness, a fabulous stylist, bewildered tribesmen, and talking trees. The production is directed by the playwright. PLEASE NOTE: This production is for mature audiences and is not for children.
The production opens Friday, September 19, 2008 and runs thru Saturday, October 18 for 14 performances at 202 N. Broadway, in Santa Ana. Show times are Friday and Saturday nights at 8:00 pm., with Sunday matinees @ 2:30 p.m. beginning September 28th. And one Thursday performance on Oct. 16 @ 8:00 pm. Tickets are $20 general admission, $15 for seniors and an inexpensive $10 for students with an ID. Opening champagne gala is $25.
“Hometown Buffet” is one of my favorite places to eat, even without the 99-cent coupon,” says playwright/director Locsin. “During one of these food orgies, I noticed how a huge number of larger-than-normal people left uneaten food on their plate, which the servers promptly threw away. I thought, wouldn’t it have been better to give all that food to hungry and homeless people? When I asked the employees, it turns out it was against health department regulations.
Those images put together produced the opening buffet scene in one inspired sitting. That scene remained a stand-alone short without dialog until I took it to the playwriting class of East-West Players in Los Angeles, where playwright/instructor Prince Gomolvilas advised his students to write the first scene of the play and then continue with the ending of the play before filling in the remaining scenes.That unusual technique produced the script for this production.
People who specialize in such things will find all kinds of symbolism, social commentary, and educational messages in HELLTOWN BUFFET, but my main goal was to create something fun and entertaining for the audience. If anything more than that comes out, it’s a happy accident.”
The cast of nine includes RGTC members Alexander Price (last seen in CHAIR) and R.J. Romero (last seen in CLOWNZILLA). Returning is Frank Aranda (last seen in THE SEVEN DEADLY SINS), Trina Estanislao (last seen in MAN OF LA MANCHA), Adam J. Ferry (last seen in THE SEVEN DEADLY SINS), and Rick Kopps (last seen in NOCTURNE). Making their debut on the Rude Guerrilla stage is Ashley Jo Navarro, Brian Chayane Salero, David Tran and Maggie Zamora.
HELLTOWN BUFFET’s choreography is by Assistant Director Lee Samuel Tanng, Costumes are by Sarah Boros, Lighting Design is by Ryan Joyner, Sound and Projection Design by Aurelio Locsin, and Stage Manager is Brenda Kenworthy.
If you'd like to arrange an interview with the cast or director, or want more information, reservations or complimentary press passes, please call 714-547-4688, send us an email at Rudegrrlla@Aol.com or visit Rude Guerrilla’s website at http://www.rudeguerrilla.org/.
Rude Guerrilla presents the World Premiere of HELLTOWN BUFFET September 19! Rude Guerrilla Theater Company is pleased to announce the World Premiere of playwright Aurelio Locsin’s black comedy HELLTOWN BUFFET as the ninth production in its eleventh season. Can a Hometown Buffet manager and his hunky demon seducer fall in love through their real and imagined histories? This dark comedy propels them from Orange County to several afterlives, prompting encounters with a sexy demoness, a fabulous stylist, bewildered tribesmen, and talking trees. The production is directed by the playwright. PLEASE NOTE: This production is for mature audiences and is not for children.
The production opens Friday, September 19, 2008 and runs thru Saturday, October 18 for 14 performances at 202 N. Broadway, in Santa Ana. Show times are Friday and Saturday nights at 8:00 pm., with Sunday matinees @ 2:30 p.m. beginning September 28th. And one Thursday performance on Oct. 16 @ 8:00 pm. Tickets are $20 general admission, $15 for seniors and an inexpensive $10 for students with an ID. Opening champagne gala is $25.
“Hometown Buffet” is one of my favorite places to eat, even without the 99-cent coupon,” says playwright/director Locsin. “During one of these food orgies, I noticed how a huge number of larger-than-normal people left uneaten food on their plate, which the servers promptly threw away. I thought, wouldn’t it have been better to give all that food to hungry and homeless people? When I asked the employees, it turns out it was against health department regulations.
Those images put together produced the opening buffet scene in one inspired sitting. That scene remained a stand-alone short without dialog until I took it to the playwriting class of East-West Players in Los Angeles, where playwright/instructor Prince Gomolvilas advised his students to write the first scene of the play and then continue with the ending of the play before filling in the remaining scenes.That unusual technique produced the script for this production.
People who specialize in such things will find all kinds of symbolism, social commentary, and educational messages in HELLTOWN BUFFET, but my main goal was to create something fun and entertaining for the audience. If anything more than that comes out, it’s a happy accident.”
The cast of nine includes RGTC members Alexander Price (last seen in CHAIR) and R.J. Romero (last seen in CLOWNZILLA). Returning is Frank Aranda (last seen in THE SEVEN DEADLY SINS), Trina Estanislao (last seen in MAN OF LA MANCHA), Adam J. Ferry (last seen in THE SEVEN DEADLY SINS), and Rick Kopps (last seen in NOCTURNE). Making their debut on the Rude Guerrilla stage is Ashley Jo Navarro, Brian Chayane Salero, David Tran and Maggie Zamora.
HELLTOWN BUFFET’s choreography is by Assistant Director Lee Samuel Tanng, Costumes are by Sarah Boros, Lighting Design is by Ryan Joyner, Sound and Projection Design by Aurelio Locsin, and Stage Manager is Brenda Kenworthy.
If you'd like to arrange an interview with the cast or director, or want more information, reservations or complimentary press passes, please call 714-547-4688, send us an email at Rudegrrlla@Aol.com or visit Rude Guerrilla’s website at http://www.rudeguerrilla.org/.
Announcing the cast and crew of Helltown Buffet
Helltown Buffet
by Aurelio Locsin
Can a Hometown Buffet manager and his hunky demon seducer fall in love through real and imagined histories? This dark comedy propels them from Orange County to several afterlives, prompting encounters with a host of fantastic characters and unreal situations. ADULT LANGUAGE AND SITUATIONS.
Show runs September 19 - October 18:
- Fri-Sat evenings at 8pm
- Sun matinees at 2:30pm on Sept 28, Oct 5, and Oct 12
- One Thursday evening show at 8pm on Oct 16
Rude Guerrilla Theater Company. 202 N Broadway, Santa Ana, CA. 92701. (714) 547-4688. http://www.rudeguerrilla.org/.
CAST
David Tran as Benjie
Brian Chayane Salero as Paco
Maggie Zamora as Madame
Rick Kopps as Grom
Alexander Price as Etienne/Tree
Trina Estanislao as Spirit
Frank Aranda as Garbanzo/Carlos
Adam J. Ferry/R.J. Romero as Frog/Ensemble
Ashley Jo Navarro as Cloud/Ensemble
CREW
Aurelio Locsin - Director/Sound Designer
Brenda Kenworthy - Stage Manager/Props
Lee Samuel Tanng - Choreographer/Assistant Director
Ryan Joyner - Lighting Designer
Sarah Boros - Costumer
Gerson Cortes - Production Assistant/Board Op
Danny-Doan H. Nguyen - Production Assistant/Board Op
Stu Eriksen - Set Builder
Jami McCoy - Stunts
Anthony Foo - Fabrications
Danny Crisp - Auditioner
Language of Their Own
Thirty-something, Chinese-born, Oscar, contracts AIDS and breaks up with his lover of four years, the American-born Ming, who is in his twenties. Oscar finds a new relationship with Daniel, a college-age Filipino, while Ming falls in love with Robert, a Caucasian head waiter in his twenties. Along the way, all four proceed on a lyrical and dramatic meditation on the nature of love, desire, sexuality, and self-definition as they come together and drift apart in a series of interconnecting stories. Orange County premiere at Rude Guerrilla Theater. Their website contains more pictures.
WARNING: Nudity and adult situations.
CAST
 Ruffy Landayan as Oscar |  Nghia Luu as Ming |  Dennis Tongas Daniel |  David Clark Smithas Robert |
SHOW SCHEDULE
Apr 6 - Apr 28, 2007 on Fridays and Sat at 8pm .
Sun at 2:30pm.
Thursday shows on Apr 19, Apr 26.
NO SHOW ON EASTER SUNDAY (Apr 8).
$25 Opening Night Gala ticket includes champagne and munchies. For all other performances, tickets are $20 general admission, $15 for seniors and $10 for students with an ID.
Rude Guerrilla Theater Company, 202 N. Broadway, Santa Ana, CA. 92701 (view a map).
10% of the show's net profits will be donated to AIDS Services Foundation, Orange County (ASF)
We're looking for donations to support the production. If you have Paypal, click here:
Otherwise, send donations to RGTC, 202 N Broadway, Santa Ana, CA. 92701. Be sure to specify they're for "Language of Their Own."
CREW
Rachel Swetnam: Stage Manager
Jessica Woodard: Set Designer
Lindsey Suits: Lighting Designer
Shannon Lee Blas: Sound Manager
Alton "Doc" Cove: Composer
Sarah Boros: Costume Designer/Rehearsal Mistress
Jennifer Bridge: Board Op/Rehearsal Mistress
Jami McCoy: Fight/Stunt Choreographer
Anthony Foo: Window Designer
Producer: Sonja Berggren
Language of Their Own: OC Register Review
Friday, April 13, 2007'Language' of identity, love
Rude Guerrilla's staging is a graphic yet sensitive take on the lifestyles of Asian gays.
Special to the Register
"A Language of Their Own" isn't Chay Yew's newest play, but it's certainly among his most elemental in its up-close look at the intertwining nature of love, desire, sexuality and identity.
That the play's themes are so universal may strike some as ironic in that its four characters are gay, with three of them Asian or Asian-American.
In the wrong hands, such material could be reduced to cultural or gender-preference stereotypes. Rude Guerrilla Theater Company's new production, directed by Aurelio Locsin, accents what makes Yew's characters unique – and, by doing so, brings out the 1995 play's dual qualities of humor and humanity.
"Language" opens with the end of a four-year affair between Oscar and Ming, two Chinese of opposite natures and temperaments. Having just learned he's HIV-positive, the analytical, methodical Chinese-born Oscar (Ruffy Landayan) breaks off with the more effeminate, American-born Ming (Nghia Luu).
In asides, Oscar and Ming share their thoughts about the nature of the relationship and the breakup: Which traits they dislike intensely, which they love madly. Oscar, for instance, organizes his world through labels, a quality the more spontaneous Ming loathes.
Ming tumbles headlong into an intense affair with Robert, a white headwaiter in search of a soul mate – preferably Asian. Oscar eventually settles into a comfortable pairing with Daniel, a fashion- and style-crazy young Filipino-American thrilled that his first love is an older man.
The cultural humor that pervades the first half of "A Language of Their Own" evokes roars of laughter, but we're also laughing in empathy of Ming and Oscar's experiences. One doesn't have to be Asian, or gay, to relate to either man, for Yew has found common ground for us all. With a sharp eye for the infinite details of all romantic affairs – before, during and after – the play lays bare this duo's fluttering hearts and innermost feelings, secrets, hopes and fears.
The second half moves into darker territory, introducing us to Robert (David Clark Smith) and Daniel (Dennis Tong). Robert showers Ming with affection and love – yet in his bitterness toward Oscar, Ming sabotages their affair. As AIDS ravishes his body, Oscar becomes more reliant upon Daniel as a caregiver.
Yew's point? It's a lot harder to put an end to any intense affair than it may at first seem – yet attempting to reunite as a couple, and reignite the spark, poses as many hurdles as moving on.
The meditative, poetic "Language" also looks at the excitement of any new relationship, the weight of self-image and shifting emotional and physical needs on any pairing and the pressures of assimilating into American society, with the specter of AIDS as poignant subtext.
Locsin's intuitive feel for the material guides his actors' body language. Yew's eloquent text is rife with short, sharp laugh lines, and equally deft dramatic jabs, and Locsin and company capture the former's laughs and the latter's visceral quality. As eloquent are Jessica Woodard's spare set, which incorporates a yin-yang pattern raised dais and simple yellow backcloth; Lindsey Suits' subtle lighting design; and Alton Cove's sensitive original music.
Landayan's Oscar and Luu's Ming allow us to see the complex mechanisms at work inside each man. Just watch, for example, how Landayan's Oscar politely grits his teeth while describing Ming's new love.
With his delicate features and expressive eyes, Luu communicates Ming's sensuality, catty sarcasm, deceptive ease in engaging in one-night stands and attendant loneliness. More crucially, he shows Ming's deep ambivalence toward love in a post-Oscar world. Landayan shows the more orderly, more inhibited and slightly geeky Oscar's underlying seriousness, his anxiety over losing Ming and the anxiety caused by facing ones mortality.
Smith and Tong give us different takes on the ecstasy of new love, with Smith showing Robert's intense craving for emotional connection and the stability of a monogamous commitment. His Robert can react only with disgust and disillusionment to Ming's insistence upon an open relationship.
Tong gets laughs in all the right places with his flamboyant Daniel, a sunny and seemingly superficial queen – but he also shows the young man's dawning awareness of his role in bringing solace to Oscar's bruised heart and body.
As intriguing as any aspect of "Language" are its many analogies between love and language. Yew likens the process of breaking off with one partner and starting anew with another to unlearning a native language while learning a new one – and, as Robert astutely notes, every happy couple has "a special language of their own that no one else can decipher."
Language of Their Own: LA Times review
LA Times
The complexities of modern love
David C. Nichols
"I can never forget what he said to me," goes the refrain of "A Language of Their Own." Chay Yew's delicate 1995 meditation on love and ethnic identity in the age of AIDS has its precious aspects, but this intriguing Rude Guerrilla Theatre Company staging locates the raw impulses beneath them.
It begins in Boston, where outgoing Ming (Nghia Luu), an assimilated Chinese American, lived with traditionally raised Oscar (Ruffy Landayan) until Oscar ended the relationship after his HIV diagnosis. "We were polite even when breaking up," says Ming in the stream-of-consciousness duologue that constitutes Act 1. While director Aurelio Locsin moves these mismatched lovers in
almost ritual manner around designer Jessica Woodard's yin-yang platform set, ambiguity hovers in the air. The intersecting motivations gain heft through choices of physical placement, and the direct-address interjections juggle heartache and humor.
In Act 2, we meet Ming and Oscar's new partners. Ming hooks up with boyish American waiter Robert (David Clark Smith), while Oscar turns to flamboyant Filipino student Daniel (Dennis Tong). The four-sided fugue of longing that follows builds to a quietly elegiac ending.
Throughout, director Locsin and his invested players attack the emotional poetry with a restraint that counters some blips. Landayan has a narrow vocal range as Oscar, but his measured delivery reveals deep reserves of feeling, and Luu makes Ming's self-absorption almost sympathetic. Tong, whose seriocomic finesse seems effortless, owns the house from his entrance. "A Language of Their Own" is highly specialized, but how it says what it has to say feels very special.
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