ASSIMILATION HAS ITS CHALLENGES
The word “sequel” can strike fear in the mind of an avid moviegoer. Why? Well…remember “Paul Blart: Mall Cop 2”? Need I say more? I suppose the same would apply to a theatregoer, although there aren’t too many sequels in this genre. Might you remember BRING BACK BIRDIE or THE BEST LITTLE WHOREHOUSE GOES PUBLIC? I thought not. Because VIETGONE, the thrilling play by Qui Nguyen that wowed
audiences at San Diego Rep in 2018, proves to be such a quality work of the theatre, I hesitated when I heard the announcement about a sequel bowing at South Coast Rep a year later. I needn’t have worried; POOR YELLA REDNECKS still requires some revision, yet it makes its mark as another important play about the immigrant experience in America.
Just as in VIETGONE, Qui Nguyen makes another appearance as a character (Paco Tolson) in this follow-up to the original play. In the former, it’s the playwright’s father who wraps up the story with his reminiscences about the Vietnam War and its impact on his life as an immigrant. Here it is his mother whose perspective rules the day. Her blunt exchanges with her son not only direct the evolution of the story, but inform the playwright’s colorful home life as well. Apparently, the writer actually conducted extensive interviews with both of his parents and his fresh “voice” reflects a keen understanding of their first-hand experiences.
Let’s head back to Arkansas, this time away from the regimen of Fort Chaffee to a less than modest existence in the “sticks”, as they are shoved via circumstances to El Dorado (also in Arkansas). In 1981, “Tong” (Maureen Sebastian) and Quang (Tim Chiou) have been married for six years. The lust of their initial attraction may have cooled a bit, worn down by the challenges of trying to thrive as immigrants in a foreign culture minus a hearty embrace by others. Tong latches on to paltry wages from a local diner while Quang scrapes by with a series of odd jobs without any permanence to his working life. To add to the challenge, Tong’s mother “Huong” (Samantha Quan) and the couple’s child live under the same roof.
The razor-sharp, unfiltered tongue of Tong’s mother captures a woman who believes she is trapped in the midst of an alien culture, seeing no reason to yield to the expectations of a way of life that is clearly anathema to her own. She does not respect the need to assimilate and coaches Tong and Quang’s son, “Little Man” (of course, also the “Playwright” as a youngster), to follow a path running afoul of the wishes of her daughter. The key child character represents as a puppet lovingly designed and directed by Sean Cawelti, voiced
by Eugene Young and manipulated by both Mr. Young & Mr. Tolson. Given the bullying that Little Man endures at school, Tong, conversely, believes that learning English would alleviate some of his problems. Herein lies the immigrant struggle on vivid display.
The tone of POOR YELLA REDNECKS is undeniably audacious as compared to the original. For example, the acclaimed comic book aesthetic reigns in the projections of Jared Mezzocchi within the overall umbrella of the flexible, yet always interesting scenic design of Amulfo Maldonado. Once again, Kung Fu emerges unexpectedly (this time in a Safeway grocery store), complete with nunchucks and swords (perhaps this segment, as executed, ultimately outstayed its welcome). Also, the music and sound design of Shane Rettig, aided by the hip arrangements of the accomplished Kenny Seymour (now busy conducting AIN’T TOO PROUD on Broadway) injects a heavy dose of propulsive energy into the proceedings.
The bountiful humor, often out of left field, insightfully peeks its head around every corner,
priming the pump for a shocking complication in the immigrant couple’s life. The resulting push and pull in Tong and Quang’s quest for a new reckoning in their relationship, despite the pressures caused by their dire circumstances, demands an occasional yuck-yuck relief valve.
Furthermore, the rapping offers an unusual dimension to the chaos. It snatches key moments in the storytelling and permits passionate exploration of internal debate and resolution in an explosive format. Intense. Chilling. Devastating. Incidentally, Ms. Sebastian kills it in rapping mode. In truth, as the preeminent character in this sequel, hers registers as a truly astonishing performance.
Looking in the rear view mirror on the play as a whole, it appears as if Act 1 develops in fits and starts, and begs for more coherence in the storytelling. On the other hand, the second act gelled…remarkably. Satisfying. Surprising. Enlightening.
The coarse antics of Ms. Quan likewise impresses. Even Mr. Chiou, although less in focus within this script, undergoes a reordering of priorities which is quite moving. Well done. The rest of the cast play a variety of roles mostly with success, although the character of “Bobby”(Paco Tolson), dripping in comic book overkill, strains credulity on all levels. Downright weird.
Director May Adrales charts a steady path for this continued saga of adjustment for these Viet refugees on their journey thru the American way of life. Supposedly, two other pieces of the puzzle are likely to take a bow in the future. Whether or not the audience previously enjoyed the good fortune of seeing VIETGONE, the opportunity to sample the fresh voice of Qui Nguyen as a writer for the theatre should not be missed. It seems likely that Manhattan Theatre Club in New York City will be the next step in the journey of POOR 
YELLA REDNECKS, either at the Friedman on 47th Street or at City Center around the corner from Carnegie Hall.
pc: Jordan Kubat
