What I liked
Audiences do not need to be familiar with vertical productions to appreciate the story, as the process is essentially a form of filmmaking. More importantly, the play draws attention to the power dynamics at work on these sets, illustrating them in compelling and visually engaging ways. The commercial vignettes, in particular, were wonderfully executed. Among the many memorable characters in this large ensemble were Sarah (Alison Iles), whose signature feigning of a damsel in distress never failed to entertain; Maid No. 1 (Nina Rancel), a true actor’s actor for whom no role is too small; and Raine (Ruixue Chen), the script supervisor who valued her apple box more than anything else on set.
One of the play’s central ironies is how Chinese production companies actually limit the visibility of Asian American actors rather than showcase them.
The production was entertaining throughout, and the ensemble cast displayed strong chemistry and connection, contributing greatly to the play’s overall effectiveness.
What I didn't like
Scenes center and upstage need more volume.
My overall impression
Dee once again tackles politically charged topics that operate behind the scenes of Hollywood’s new era, particularly through the creation of “verticals.” He skillfully infuses humor into the script, preventing the play from becoming overly didactic. While some scenes felt almost too good to be true, the play, much like his previous work “My Tiger”, which explored race relations in the United States, demonstrates how art can serve as a foil to reality.
