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Regional Reviews: Minneapolis/St. Paul Middle Brother
Middle Brother, by Eric Sharp, is a travelogue that takes us from Iowa to contemporary South Korea, with several lay-overs in the Joseon dynasty, which lasted from 1392-1910. There is a second journey in the heart of a transnational adoptee, between two homelands —that of his birth, and that which raised him to adulthood. Middle Brother is Mr. Sharp's first produced play, and he takes on the lead role of a Billy, a Korean adoptee raised in small town Iowa. After completing college, Billy, a high achieving, well-liked young man, embarks on a complete his education by making a journey to Korea, the land of his birth. His younger brother, Gabe, is also a Korean adoptee, though they are not related biologically. Billy hopes Gabe will travel with him to Korea, but Gabe does not want to leave the cocoon provided by his social circle, so Billy travels alone. Five of the cast members (all but Mr. Sharp) comprise a Korean chorus that, like a Greek chorus, advice Billy, comment on the action, and make predictions as to what lies ahead. They caution Billy that in spite of his Korean birth, his inability to speak Korean and American upbringing will cast him as an outsider. Upon his arrival, Billy contacts the agency who handled his adoption as small boy (though not a baby) seeking information about his birth family. He is shocked to discover that he had an older brother. Aside from that, the agency has little information for Billy and let him know that in their system, tracking down birth family members is extremely difficult. A year passes, Billy struggling to understand and be accepted in Korean society, as he teaches English. He is preparing to return to Iowa when the agency calls with amazing news: they have located Billy's birth brother, who wants to meet Billy. Thus begins Billy's status as the titular middle brother, the older brother by birth, the younger brother by upbringing. Billy is also in the middle of two cultures. He does not feel really accepted as Korean, but no longer feels totally at home back in America, prompting the most basic of questions: Who am I? The story arc and the questions it raises are significant enough to make compelling theater. However, playwright Sharp obscures this basic plot with scenes set in the Joseon dynasty staged as traditional Korean theater. In these segments, the Queen bears the heir to the throne, the first born son, but another son is born who threatens the primacy of the first born a decision must be made that leads to the abandonment of the second child. This narrative is difficult to follow, as it references history and traditions unknown to this western viewer. Further, it obscures an understanding of what really happened to Billy, how it was that he was given up for adoption, and how his older brother ended up in a Korean home for boys when he lost his way searching for his missing younger sibling. Perhaps these scenes are meant to illuminate the logic behind the decisions made by Billy's birth family, but instead only raise smore uncertainties as to what really might have occurred, with the effect of interrupting progress toward resolving Billy's quest. Another digressive element is use of a song, sung by Billy, with the Korean chorus as back-up, in which Billy expresses the panic of culture shock he experiences upon his initial arrival in Korea, reprised upon his return to the United States. The song is clever, and the staging, with cheese disco-ball lighting, has good humor. However, the play is strongest when the actions and dialog reveal Billy's feelings, and losing ground with the use of devices that feel inserted to make sure the audience gets the point. There is a great deal to admire and enjoy in Middle Brother. Eric Sharp does a wonderful job of projecting his shifting feelings from optimism to loneliness, eagerness to anxiety, as he crosses back and forth over the cultural divide that bisects his life. Sherwin Resurreccion as older brother Hyung paints a strong picture as his affection for his younger sibling is rekindled, while he drawn into the unhappiness of his own childhood. Michael Sung-ho creates a believably disaffected younger brother, not motivated to succeed on the terms of American society, yet resisting the opportunity to draw strength by connecting to his Korean roots Middle Brother is given a remarkably lively and imaginative staging by Robert Rosen, using many the theatrical slight-of-hand that was the hallmark of his work as founder and co-Artistic Director of Theatre de la Jeunne Lune. His ability to transform an airport to a bustling Seoul market, to the Joseon royal residence to a modern hospital using lights, ingenious props, and a remarkably versatile rolling cart is quite astonishing. Even Billy's travel between Iowa and Korea is staged with humor and wit, creating an unearthly neutral zone between the two cultures. Throughout there is a great deal of good humor, primarily provided by the Korean chorus, as well as by Sara Ochs' turn as the adoption agency worker. The elaborate costumes designed by Stacey Palmer add greatly to the performances, making the actors' transformations from the Korean chorus, modern Korean denizens, members of the Joseon court, and specific characters easy to track. Sound and lighting design work is first rate as well. Eric Sharp shows great talent as a playwright able to tell a compelling story, woven with strong emotion and bright humor. Middle Brother suffers from too much ambition, interspersing historical pageant and digressions into pop music into an experience that is very much a part of the contemporary Asian-American community. More attention to and faith in the main event would build upon this works strong bones. We look forward to future offerings from Mr. Sharp. Middle Brother is the 46th world premier offered by Mu Performing arts in its 23 seasons of performances. The company is to be applauded for creating new work and maintaining its mission of illuminating the Asian-American experience. Continues at the Southern Theater through September 28. 1420 S. Washington Ave., Minneapolis, MN. Tickets are $22 (10 for students with valid ID). For tickets call 651-789-1012 or go to muperformingarts.org. Writer: Eric Sharp; Director: Robert Rosen; Set and properties designer: John Francis Bueche; Costume designer: Stacey Palmer; Lighting designer: Karin Olson; Sound designer: Michael Croswell; Stage manager: Lisa M. Smith; Technical director: Theresa Akers; Dramaturg: Jennifer Weir; Sound Board Operator: Stephen Straub Cast: Su-Yoon Ko (Joseon Queen, Matron, Korean Chorus); Sara Ochs (Mrs. Park, Joseon Lady, KAL Flight Attendant, Korean Chorus); Audrey Park (Doctor, Joseon Lady, KAL Flight Attendant, Korean Chorus); Sherwin Resurreccion (Hyung —aka Young Nam, Korean Chorus); Eric Sharp (Billy- aka Young Jae); Michael Sung-ho (Gabe —aka Jun Kyung, Chancellor, Korean Chorus).
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