Ahead of its opening, playwright Brian Dang and director Garret Storms described H*llo K*tty Syndrome as a genre-bending show filled with all the elements of theater that leaves the final interpretation to the audience. A mix of anticipation and some trepidation were natch for me. Because what they didn’t say was that this was a show that’s run through a blender and then a jigsaw.
The show opened on May 1 and so my Thursday performance had a few notches under its belt. The result was a confounding mix that didn’t bow to structural parameters of playwriting, but instead flipped them into a fascinating experience to watch unfold. But also, HKS is a show to let go and let gawd. Sit back, enjoy the ride and ask questions later – which we did at the Talkback Thursday.
The premise hangs on HK, who ambles about through various episodes in their life of family drama, romance and a detective story while perpetually donned in their Hello Kitty mascot costume. The other four actors rotate through the same characters while an onstage screen (television) dictates the show’s direction.
The 90-ish minute play with no intermission breaks in two about halfway.
The first half was fun and insane. The second was abstract, surreal but darker and emotional. Storms pared the set to just the actors outside of props and transparent curtains. Dang’s story dived into an exploration of body and identity which spoke much to queer and trans sensibilities and perspectives. The characters’ one objective was mostly to get HK to take off their mascot head. HK is defiant. And this is all punctuated by Whitney Houston’s bop “So Emotional.”
RELATED: Undermain’s H*llo K*tty Syndrome bends every genre while giving big queer energy
HKS was a relentless show with a fusion of aggressive and passive energies. Instead of scenes, Dang gave us interconnected snippets that were an onslaught of visuals and emotions. One moment, the audience was laughing, followed by heartbreaking confessions by the cast.
And what a cast. In a costume with head covered and even their sight, Captain Milbourn crafted a distinct and sympathetic character. Milbourn had to convey much through their body and succeeded through a well-crafted physicality and movement. HK’s dismay and confusion – among other moods – were always evident thanks to Milbourn’s body control.
The remaining four actors all had the same job – only very different versions of it.
They each had to bring all their talents to the table from deep drama to melodrama, singing, choreography, fourth-wall breaking monologues and volatile and outlandish dialogue. Each put a splendid stamp on their performances.
Parker Gray, simply credited as Stagehand, displayed a remarkably confused energy in the play’s initial scenes milling about in HK’s orbit. As the character descended into a darkness, Gray effectively shifted into a direful performance. Marianne Galloway was dynamic and embraced the caricatures of the first half. Her cowboy and detective versions were glorious and her ASL monologue brought forth a poetic break from the action. In her Undermain debut, Jess Anoruigwe was dazzling. Her comic and dramatic portrayals had nifty depth. Ryan Michael Friedman’s gift of physical comedy was on full display. His performances morphed camp and experimental into one.
To add to the vibes, the creative team also nailed Dang’s avant-garde story. Mazur’s set in the beginning was a welcoming neighborly front-door set that then moved into darker, scary territory and ultimately a completely minimalist stage. Luke Atkison’s lighting captured all the moods from oddball bright to a sinister air. Properties Designer Rayven Harris displayed an extravaganza of props that fit perfectly into the show’s aesthetic. Aaron Patrick Declerk’s Hello Kitty costume was solid, but the attention to detail in the other cast’s costuming was remarkable work including the masks and robes and the varied caricatures in the show’s early scenes.
In the latter half of the show, the characters broke the fourth wall and introduced themselves with their real names and shared personal insecurities. Please urge the restraint to go give them a hug like I wanted to. This created a severely vulnerable moment yet also had a disorienting effect as the play became – if not already – self-referential. Subsequently, HK directly addressed the audience that resulted in a blind vote if we wanted to see them take their mascot head off. This took me out of the show a bit at its ending, but then, I had to acknowledge the unconventional rule-breaking nature of H*llo K*tty Syndrome which ultimately enhanced its compelling quality.
The show runs through May 25.
