RG Asian: Aurelio Locsin

Staged reading of "Marriage Monkey" at East West Players

noreply@blogger.com (Aurelio Locsin) — Fri, 19 Jun 2009 11:30:00 +0000

MARRIAGE MONKEY by Aurelio Locsin
SUNDAY, June 28 @ 4:00 pm
Directed by Justin Fisher

In 1930s Los Angeles, Jun, a newly-arrived Filipino student meets Marjorie, a white co-ed at USC. Will their infatuation blossom into love and marriage or will racial prejudice and anti-miscegenation laws threaten their union?

Narrator/Assistant Director: Jeff Newman
Jun Roldan: Henry Chu
Marjorie Hirst/Nellie/Wife: Kerry Hennessy
Bert/Danny/Louis: Dante Basco
Nora/Gladys/Mum: Kate Di Rienzo
Bruno/Loverboy/Policeman/Johnny/Clerk/Owner/Judge: Eric Pierce

THE DAVID HENRY HWANG THEATER
120 Judge John Aiso Street
Los Angeles, CA 90012
213-625-7000

FREE though donations are welcome

Rude Guerrilla shutting down permanently

noreply@blogger.com (Aurelio Locsin) — Fri, 16 Jan 2009 12:33:00 +0000

Orange County's most provocative theater is permanently closing after this season. This has been my theatrical home for the past ten years and I had visions of it continuing into something bigger. So I'm sad but grateful to be able to direct one more show here.

More information about the closing at this OC Register page.

Big Hunk O'Burnin' Love coming up

noreply@blogger.com (Aurelio Locsin) — Sun, 11 Jan 2009 18:00:00 +0000

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.

Last weekend to catch Helltown Buffet

noreply@blogger.com (Aurelio Locsin) — Tue, 14 Oct 2008 16:01:00 +0000

OC Register calls playwright, Aurelio Locsin, "a skilled writer of perception, wit and imagination" in a play that "recalls Philippine history and his own Filipino heritage with warmth and fondness"
OC Weekly agrees that Helltown Buffet is "a heap of fascinating Filipino traditions" whose author and director "gets big props for being extremely original with most of his content; the play is certainly never boring. (He) is most successful when it comes to his witty, poignant one-liners."

KUCI says "The first act of Helltown Buffet is as campy as they come…a tale of demons and blood and epicurism. In Act Two, however, the play becomes beautiful…. spiced with Filipino culture."

See for yourself what the critics already know!

Helltown Buffet is in its last weekend From Oct. 16-18 at Rude Guerrilla Theater, 202 N. Broadway, Santa Ana. Show times are Thursday, Friday and Saturday night at 8:00 pm. Tickets are $20 general admission, $15 for seniors and an inexpensive $10 for students with an ID. CALL FOR RESERVATIONS at (714) 547-4688 or you may not get in. PLEASE NOTE: This production is for mature audiences and is not for children.

Can a Filipino-American manager of Hometown Buffet 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.

For more info on the play, click HELLTOWN BUFFET in the left column.

"Helltown Buffet" video

noreply@blogger.com (Aurelio Locsin) — Tue, 14 Oct 2008 13:11:00 +0000

Here's the publicity video for "Helltown Buffet," courtesy of David Beatty, the videogarpher for Rude Guerrilla Theater.

Helltown Buffet Back On Track!

noreply@blogger.com (Aurelio Locsin) — Sat, 04 Oct 2008 13:41:00 +0000

After some amazing clean-up by cast, crew, and an outside repair company, Helltown Buffet is back to its regular performances.

With fewer performances left, you'll need to make your reservations now if you want to catch the show. The production runs thru Saturday, October 18 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.

Fire and Flood cancels Helltown Buffet Performances

noreply@blogger.com (Aurelio Locsin) — Mon, 29 Sep 2008 17:21:00 +0000

Last Friday, September 26, the building in which Rude Guerrilla Theater is located suffered a late-night fire and sprinkler-system activation that flooded the lobby and "Helltown Buffet" set. This forced the cancellation of Helltown Buffet performances for that weekend.

We hope to resume performances soon.

Rude Guerrilla's co-Artistic Director, Dave Barton, gives details about the fire in his two blog entries, used here with permission. (I've added parenthetical remarks to describe the people.)

FROM DAVE BARTON'S BLOG

"OH, GOD........RUDE GUERRILLA IS BURNING DOWN!"

The phone is ringing at 6:00 am and the first thing I think as I'm startled awake is that someone has died. Fortunately, that's not the case.

Seems instead that there was a fire upstairs in the Empire Building where we rent our space. Sprinklers went off, flooded the second floor, which then poured through any available cracks in the flooring, down to our ceiling, creating an inch tall pond where Rude Guerrilla's stage and lobby used to be.

Firemen look on our website because there's no posted emergency number on our front door, fire alarms have gone off and water is flooding out the front door onto the pavement outside.

They see on the website that David Beatty (company member) is teaching an acting class, so they call him, wake him up and then think they haven't actually reached him, turn off their phone (they think) and put the phone in their pocket.

So the phone's still on, David's saying "Hello? Hello? Can anyone hear me?" as he hears fire engine alarms, hears someone shouting, "Get the ax! Smash in the door!" and he's thinking ""Oh, God...Rude Guerrilla's burning down!"

And as he shouts into the phone and hears the splintering of wood and the shattering of glass, he jumps in his car and calls Jay (co-Artistic Director) and then Jay calls me.

I show up fifteen minutes later.

Water is everywhere...the theater smells wet and it feels like summer in Miami: sticky and fetid.
The "Helltown Buffet" set is water-damaged and the bottoms of the curtains soaked, but only a handful of seats are wet, amazingly enough. It look so bad that I can only imagine what would have happened if the sprinklers inside our area of the building had gone off.

As I enter, in the darkness, a bright floor light stands amid the water, David is talking to a fireman and every mop, trash can and garbage pail is full of a brown, brackish liquid as burly guys in yellow pants sweep away the water.

The lighting grid is dripping and I rush to flip off the electricity that's still being sent to the light boxes before we get a spark and the lights short-out and explode.

I call our insurance broker twice (no answer), call the building's management office (closed), call their emergency number (answering machine) and call ServePro, whose job it is to come into water and fire-damaged areas and clean up. They're the only ones that actually answer and tell me someone will be there within the hour.

I call Jay back and fill him in. I call Dawn (Maintenance Manager) asking advice on how to repair the busted door. I call Aurelio and we laugh and decide that "Helltown" is now officially cursed. ServePro tells me that we're shut down for the next 2 to 5 days because of the damage and necessary repairs. Jay calls Sharyn (director and company member) and tells her that "Our Town" rehearsals will need to be somewhere else for the next few days.

Vicki (Treasurer) moves our planned Board meeting on Sunday to her apartment.

It's now 12:30 and I've been here for six hours...I'm exhausted as hell and have no idea what will happen next.

-----------------------
WATER DAMAGE

Typing Sunday morning as the Servpro guys are punching holes in the dry wall to see if it's still wet.
Still wet, despite high force fans and dryers--as well as our heating system--on for the past 24 hours.
I'm waiting for the final verdict, but so far the answer seems to be yep, it's still wet.

I could tell that even before they got here...the reek alone as I walked in the back door told me that things were damp enough for there to be a mold concern.

And, as the building management told me yesterday, "We have insurance, so do what you have to."
So what I thought was going to take a half hour--with plans to then go to my last Board meeting for two months--means three hours and no Board meeting.

Instead...a MySpace blog!

Everything is currently being moved to the center--offices emptied, seats removed, platforms turned on their sides and it's looking like the bottom couple inches of each piece of drywall is going to be cut out and removed...

As someone who commented on the previous blog said...at least no one got injured (a good thing), the building has insurance (another good thing) and it doesn't involve our insurance so far (another good thing).

Let the mess begin.

Helltown Buffet review by KUCI's Keith Dillon

noreply@blogger.com (Aurelio Locsin) — Fri, 26 Sep 2008 22:53:00 +0000

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

noreply@blogger.com (Aurelio Locsin) — Sat, 06 Sep 2008 12:41:00 +0000

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/.

Announcing the cast and crew of Helltown Buffet

noreply@blogger.com (Aurelio Locsin) — Mon, 04 Aug 2008 17:23:00 +0000

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

Audition Notice

noreply@blogger.com (Aurelio Locsin) — Sat, 05 Jul 2008 21:24:00 +0000

Rude Guerrilla Theater Company is holding open, non-union auditions for the World Premiere of “Helltown Buffet” (formerly "Consent"). This play is written and directed 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.

AUDITIONS: Sunday, July 27, 7-9 pm. Monday, July 28, 7-8 pm.
CALLBACKS: Monday, July 28, 8 pm.

Cold reading from the script. Please bring headshots or a photo, and theater resume, if available.

ADDRESS/PHONE: 202 N. Broadway, Santa Ana, CA. 92701. (714) 547-4688.
There is some pay: a small stipend plus percentage of ticket sales.

Rehearsals begin Sunday, August 3, and will generally run Mon-Thu from 6:30pm-10pm, and Sunday mornings.

Show runs September 11-October 18 (Fri-Sat evenings at 8pm, Sun at 2:30pm, one Thurs evening on October 16 at 8pm.)

To keep up with the latest developments, subscribe to this blog using the links on the upper right.

CAST

All ethnicities encouraged to audition for the non-Asian roles. Non-union only please.

BENJIE: Male, 20-30, Asian/Latino to play Filipino, naïve, idealistic Hometown buffet manager who is seduced into temptation. Will speak some Tagalog and do a simple solo tribal dance. Must be comfortable with gay intimacy.

PACO: Male, 20-30, Asian/Latino to play Filipino, lower-class, tough but charming. Newbie demon earning his horns by tempting the innocent. Must be comfortable with gay intimacy.

MADAME LOVELESS: Female, 20-60. Boss of a lair in hell. Seductive and sexy one moment, angry and vindictive the next.

GROM: Male, 20-60. Madame’s bodyguard. Ruthless and loyal.

The following roles will double (as childlike spirits, diners, homeless people, etc.). Improv, dance, and movement skills a plus.

SPIRIT: Female, 20-70, Asian/Latino to play Filipino. Nutty but lovable earth mother in charge of the Filipino afterlife. Will do a simple solo tribal dance.

ETIENNE: Male, 20-60, flamboyant stylist in hell and greeter in Purgatory. French accent a plus.

GARBANZO/CARLOS: Male, 20-50, Latino or any race. Will speak some Spanish. Must be able to play two different characters. GARBANZO, 20-45, is a game show host and God’s gift to women. CARLOS, 40-55, is an ex-gangster, who is now a family man with bad eyesight and slowing reflexes.

ENSEMBLE: male or female, any age, to play additional speaking and non-speaking characters.

All actors will also be doing different voice-over characters.

Crews Control

noreply@blogger.com (Aurelio Locsin) — Wed, 11 Jun 2008 12:34:00 +0000

Been receiving a ton of applications but haven't decided yet on crew for Helltown Buffet. Here's what's needed:

Stage Manager. Must be organized and proficient with email, because that's how we communicate offline.
Set Designer/Builder. Must be able to design and build a set on a very low budget. Resourcefulness is a must. I'm very open to any concepts you might have to fit the play. Costumer.
Costumes will cover modern to fantasy (for the sequences in hell and an eco-friendly Philippines afterlife) to Filipino tribal.
Choreographer to choreograph at least two dance sequences: one set in modern Southern California and another Ifugao-style tribal dance set in pre-Hispanic Philippines.
Sound Designer to select and design not only sound effect but music.
Lighting Designer.
Prop Master.
Two tech people to run the light and sound board.

If you're interested, email me a theater resume using the address on the left.

Rejecting Helltown Buffet or The Importance of Theater Research

noreply@blogger.com (Aurelio Locsin) — Tue, 10 Jun 2008 04:03:00 +0000

Seattle-based SIS Productions rejected Helltown Buffet with a nice email. The reason? Not enough roles for women. True enough. The play focuses on men, with only two out of the seven main characters for women.

But some research into their theater could've saved some trouble. Their website clearly states that they strive "...to create, develop and produce quality works that involve Asian American women."

Good thing that email submissions don't use any postage. The cheap, simple lesson here is to always check out a theater's background before soliciting them.

The good news is that SIS is looking at my Asian Acting play collection, which has quite a few roles for women. The one all-male play of the collection, Tongue Lashing, can easily be replaced by Christmas Kisses, which is mostly about women, though not strictly an Asian play.

Meeting Up at the Beall Center

noreply@blogger.com (Aurelio Locsin) — Fri, 06 Jun 2008 13:50:00 +0000

University of California - Irvine (UCI): the college students have bodies that still pull upward against the force of gravity, eyes that don't squint at small type, and dreams of fame and glory unmortgaged by the bank of real life.

Me, I have the Orange County Small Theater Meetup group: nearly 500 folk way past college who love small theater. (Their extreme good taste brought them to Language of Their Own a year ago. ) They also love art. Specifically, multi-media art at the UCI Beall Center.

But this was my first meet-up with them and so how would I recognize anyone.

Do I just go up to the occasional mature face among youthful crowd and say "Hello, you look old enough to be everyone's parent. Are you with the group?"

After 20 minutes of wandering the free Costco pizza, overpowering rock music, and student clubs offering free hugs, I was approached by Anna, the group organizer, who recognized me from Language of Their Own. She took me into a the fold of about nine people, all of whom held fascinating opinions about art, colored by their life experiences.

One exhibit (above): projected, life-sized, moving images of people talking about I Want, the exhibit title. The projectors rose high enough so the shadows of viewers didn't appear until they got very close to the image.

Projections as background for a stage set? Not cheap but can be effective.

Indiana Jones and the Eternal Explanations

noreply@blogger.com (Aurelio Locsin) — Wed, 04 Jun 2008 10:40:00 +0000

This is not a review for Indiana Jones and the Crystal Skull, though for the record, Harrison Ford (left) and Shia Laboeuf (right, channeling Marlon Brando in Wild One) couldn't unhash this rehash of the series plots.

This is about what over-explaining can do to an action film:

"Indy, we need to run from the bad guys."

"Yes, but first you need to know why they're bad."

"Indy, we need to find the source of the crystal skull."

"Yes, but did you know who made the crystal skull and why it's dangerous?"

"Indy, run. Now."

"Yes, look how that tribe recalls the splendor of the Mayan empire. Speaking of Mayans..."

But I'm the Rubbermaid calling the kettle container "Tupperware." My play Consent bogs down with similar yakking scenes. At the time, they seemed necessary, but now they're like C-Span documentaries gone wild. Especially with Indy's example on the big screen.

Out comes the virtual scissors. Cut, cut, cut those scenes.

Speed Racer Inspirations

noreply@blogger.com (Aurelio Locsin) — Fri, 23 May 2008 15:07:00 +0000

This isn't a movie review.

Though I did love the film for its fast action and its heartfelt story. The film also proved highly original in its directing and look, and yet remained true to its anime roots in a cartoon I barely remember. Emile Hirsch was also adorable as Speed (below left), Matthew Fox was masculine and in-control as Racer X (below center), and Rain, an Asian superstar in his American film debut, was vulnerably and hunky as a racing teammate (below right).

This is about the retro-future look of the film, painted in strong, primary colors to help communicate points in the story. (Speed Racer always wears white.) Check out the scene below for the retro part.

Susan Sarandon's green and yellow dress and John Goodman's red polo shirt could be out of a sixties sitcom. The colors contrast with the brown divider cut-outs, blue walls, and tan stone of their ranch-style home. The composition screams family-friendly suburbia.

And the pic below is the future:

With neon, smoothly curved cars, and racetracks with strong lines adding speed and movement to an already-fast sequence.

The art direction is giving me all kinds of set ideas for my play Consent such as how to use certain shapes and colors to distinguish between this life and the afterlife, or how to divide good from evil. I don't want to get too specific with any ideas, since the final is all up to my yet unchosen set designer and costumer.

At least now, when they ask me, what you had in mind, I won't give my standard answer "Whatever you want."

Instead, I'll say "Speed Race, the movie."

Language of Their Own one of the Top Picks of 2007 OC Theater

noreply@blogger.com (Aurelio Locsin) — Sat, 16 Feb 2008 11:21:00 +0000

Eric Marchese, theater critic for the Orange County Register, picked "Language of Their Own" for Honorable Mention in his Top Picks of OC Theater for '07.

Top Ten

Jekyl & Hyde @ FCLO
Phantom @ FCLO
The Crucible @ Rude Guerrilla
Urinetown @ The Maverick
Bat Boy @ STAGEStheatre
Book of Days @ STAGEStheatre
Side Show @ Westminster Community Theatre
San Diego @ Rude Guerrilla
Frozen @ The Chance
Closer @ Hunger Artists

Honorable Mentions

Language of their Own @ Rude Guerrilla
A Little Night Music @ Costa Mesa Costa Mesa Civic Playhouse
Much Ado about Nothing @ Hunger Artists
Almost, Maine @ The Orange Curtain
Frozen @ Hunger Artists
The Visit @ Rude Guerrilla

Worst production of the year: Attack of the Giant Nuts @ Hunger Artists

Biggest Surpise: "Almost, Maine" @ The Orange Curtain

If anyone knows a link to the actual podcast of this announcement, please let me know.

Blurb for Helltown Buffet, formerly Consent

noreply@blogger.com (Aurelio Locsin) — Sun, 06 Jan 2008 01:33:00 +0000

This advertising blurb for Helltown Buffet (formerly Consent) appears on the window monitor at Rude Guerrilla Theater.

This is a previous version of the blurb:

And here's an interpretation of the play by my niece, Sabrina Topacio.

Staged Reading of Consent

noreply@blogger.com (Aurelio Locsin) — Wed, 12 Dec 2007 10:11:00 +0000

Can two Filipinos, 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. (Full production next year at the Rude Guerrilla Theater Company in Santa Ana.) WARNING: Adult language and situations.

My latest play, Consent, is having a staged reading in Los Angeles. It's directed by Alberto Isaac and starring Kennedy Kabasares, Michael C. Palma, Janellen Steininger, Tom Atha, Emily Kuroda, J. Stephen Brady, Elpidio Ebuen, and Michael Villanueva.

9:00 pm (second reading of the night)
Thursday, December 20, 2007
East West Players
120 North Judge John Aiso Street
Los Angeles, CA 90012

For a map and further directions, click here.
Parking in the lot next to the theater is usually free for readings. But if they're charging the usual $4, you can always park on the street. Most of the meters are off by 8pm.

The reading is part of the Reincarnation series of readings (download a PDF flyer) at the David Henry Hwang Writer's Institute.

Language of Their Own

noreply@blogger.com (Aurelio Locsin) — Sat, 28 Apr 2007 14:08:00 +0000

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 Tong
as Daniel

David Clark Smith
as 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: Backstage West review

noreply@blogger.com (Aurelio Locsin) — Sat, 21 Apr 2007 01:40:00 +0000

A Language of Their Own *
/April 20, 2007
/By Eric Marchese

Chay Yew's poetic, meditative drama looks at the interconnections between love, desire, sexuality, and identity. That his four principal characters are gay is almost incidental, for in Yew's examination, what counts is each character's self-image and shifting emotional and physical needs. Yew's identity is reflected in his three Asian characters, who cope with assimilating into American society. His focal couple are Oscar and Ming, Chinese men whose opposite temperaments pull them apart, yet who are unable to readily get past their intense, four-year relationship. The more feminine Ming almost instantly hooks up with Robert, a white headwaiter who seeks the perfect romance. Cautious, analytical Oscar takes longer, eventually settling on Daniel, a flamboyant young Filipino American excited to be chosen by the older man, who is his first love.

Director Aurelio Locsin exhibits an almost intuitive feel for Yew's map of the human heart, guiding the subtle body language of his actors to match the demands of Yew's text. Ruffy Landayan's Oscar and Nghia Luu's Ming are wonderfully transparent, allowing us to see the complex mechanisms at work inside both men. With his delicate features and deep-set, expressive eyes, Luu is the focal point, his Ming struggling to sort out just exactly what he wants and needs romantically. Landayan's Oscar forms a fine complement: orderly, introspective, anxious over letting Ming go, and gradually worn down by his HIV, which forms a pointed, poignant subtext. Dennis Tong's Daniel is a sunny, frivolous young queen who only gradually awakens to the burdens of caring for the diseased Oscar. David Clark Smith's Robert is a sensitive romantic who prizes over all else the worthy if elusive goal of monogamous commitment. Eloquent and deft, yet surprisingly funny, Yew's writing is well-supported by set designer Jessica Woodard's raised, yin-yang pattern circular stage and spare yellow backcloth, Lindsey Suits' lighting, and Alton Cove's sensitive original score.

Presented by Rude Guerrilla Theater Company at the Empire Theater, 202 N. Broadway, Santa Ana. Fri.-Sat. 8 p.m., Sun. 2:30 p.m. (Also Thu. 8 p.m. April 19 & 26. Dark Sun. 2:30 p.m. Apr. 8.) Apr. 6-28 (714) 547-4688. www.rudeguerrilla.org.

Language of Their Own: OC Register Review

noreply@blogger.com (Aurelio Locsin) — Sat, 14 Apr 2007 05:31:00 +0000

Friday, April 13, 2007

LANGUAGE OF LOVE: Ruffy Landayan, left, portrays the analytical Oscar and Nghia Luu the more feminine Ming, in Rude Guerrilla's staging of Chay Yew's 1995 drama. Photo by Jay Fraley.

'Language' of identity, love

Rude Guerrilla's staging is a graphic yet sensitive take on the lifestyles of Asian gays.

By ERIC MARCHESE

Special to the Register

'Language' of identity, love

"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

noreply@blogger.com (Aurelio Locsin) — Fri, 13 Apr 2007 08:10:00 +0000

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.

Christmas Kisses

noreply@blogger.com (Aurelio Locsin) — Fri, 02 Dec 2005 01:55:00 +0000

Part of the "Christmas Closet" series of short plays staged in 2005 by Rude Guerrilla, "Christmas Kisses" is the story of a young girl and her Christmas presents. It features Jami McCoy, Shannon Lee Blas, Barbara Gibbs, and Alex Walters, and was directed by Erika Tai.

More information and pictures are at the "Christmas Closet" page of the Rude Guerrilla website.

You can also read the reviews.

Asian Acting

noreply@blogger.com (Aurelio Locsin) — Sat, 08 Jan 2005 07:30:00 +0000

A wild assortment of plays, dance pieces, and puppetry with a world premiere at RudeGuerrilla Theater in Santa Ana, California from January 7, 2005 to January 22, 2005. Note that some of the plays contain adult language and situations.

For a complete list of plays and reviews, click "Asian Acting" under "Plays" on the left. For more pictures, visit the Asian Acting page at the Rude Guerrilla website.

Directed by Scott Barber, Sharyn Case, Sara Guerrero, Steven Parker, Jody J Reeves, and Erika Tai. Assistant: Heather Enriquez. Lighting Designer: Dawn Hess. Artistic Director: Dave Barton
NEWSFLASH: "Asian Acting" nominated for 2005 Best New Play at the OC Weekly Theater Awards.

Dates
January, 2005:

7, 8, 9 (Fri-Sun)
13, 14, 15, 16 (Thu-Sun)
20, 21, 22 (Thu-Sat)

Talkbacks on Jan 15/22 (Sat)

Location

Rude Guerrilla Theater Company
200 N. Broadway
Santa Ana, CA. 92701 (view a map)

Reservations (recommended): (714) 547-4688

Showtimes

Thurs-Sat: 8 pm
Sun: 2:30 pm

Admission

$20 opening night (Jan 7) includes reception.
$15/general. $12/students & seniors.
Special group rates available for 10 or more.

A portion of admission sales is being donated to UNICEF for the tsunami victims.