Craig Schwartz
Noises Off
Roy Hurst
The River Niger
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PO BOY TANGO In Kenneth Lin’s ambitious but uninspiring script, Taiwanese immigrant Richie Po (Dennis Dun) calls upon an African-American woman named Gloria B (Esther Scott) to help him resurrect his deceased mother’s recipes. The occasion is his daughter’s wedding; the two had became acquainted years ago, after Gloria hS helped nurse his daughter as she battled cancer. For guidance, they rely on videotapes sent by Mama Po (Jeanne Sakata) to her son — tapes about her cooking in which she also reminisces on Richie’s childhood. The play aims to illustrate how food — nourishing the spirit, as well as the body — can bridge the gaps among individuals from vastly different backgrounds. Unfortunately, too much of the dialogue consists of “remember when” chitchat that carries little dramatic imperative. Toward the end, a fierce argument concerning race finally erupts after an angry Gloria accuses Richie of disrespecting her, but the conflict seems forced. Likewise, although Mama’s narrative includes a single compelling incident, it’s mostly quotidian detail from which a clear portrait of the past fails to emerge. The play is directed by Oanh Nguyen; some production decisions do little to augment its underachieved intentions. While Nathan Wang’s original music is a plus, designer Shaun L. Motley’s sterile set underscores the material’s enervated dynamic. A play that emphasizes the miracle properties of broth should bring some to the stage. East West Players, 120 N. Judge John Aiso St., Little Tokyo; Wed.-Sat., 8 p.m.; Sun., 2 p.m.; through December 6. (213) 625-7000. (Deborah Klugman)
GO THE RIVER NIGER Joseph Walker was among a handful of black playwrights who came to prominence during the civil rights era and won acclaim for their dramas about the black experience in America. This is a solid, spirited revival of his 1974 Tony Award–winning drama about a family tested by a critical moment of reckoning. The action unfolds in the Harlem residence of Johnny Williams (a dynamic performance by Ben Guillory), a housepainter who writes poetry and whose love for his long-suffering wife, Mattie (Margaret Avery), is matched only by his love of the bottle. The two are anxiously anticipating the arrival of their son Jeff (Dane Diamond), who they believe is returning as a successful U.S. Air Force navigator. But his eventual return instead brings disappointment and trouble. Adding to the crisis are Mattie’s cancer diagnosis and the sudden appearance of four of Jeff’s old buddies, who are now members of a militant black revolutionary group. This is essentially a dated melodrama but one that nevertheless holds our attention and has fruitful poignancy because of the well-sketched, robust humanity of the characters. Director Dwain Perry could do better with more rigorous pacing. Cast performances are uniformly good, particularly Alex Morris, who is superb as Dr. Dudley Stanton. Los Angeles Theater Center, 514 S. Spring St., dwntwn.; Fri.-Sat., 8 p.m.; Sun., 3 p.m.; through December 20. (213) 489-0994. (Lovell Estell III)
