Tyler Simahk, Theresa Nguyen. Michael Hisamoto & Lin-Ann Ching Kocar in "Fast Company" (photo: Mark S. Howard) |
The family consists of the matriarchal Mable (Lin-Ann
Ching Kocar), her daughter and game theorist Blue (Theresa Nguyen),
her “retired” pickpocket son Francis (Tyler Simahk) , who's
become a television magician, and her gambler son H (Michael
Hisamoto). Each in her or his own way fulfills the definition of a
grifter, that is, one who “obtains goods or money illegally by the
use of skills rather than violence” from a mark who is the intended
victim, also known as a sucker or patsy. Their scheme includes an
“inside man”who pulls off the actual con once the trust of the
“mark” has been earned, the “lure” who typically pretends to
be something she or he is not, in order to entice the mark, the
“roper” or “outside man” who attains the trust of the mark
before the con is pulled off, and the “fixer” who's the overall
coordinator for the con, who networks resources and backup plans.
The cons they have pulled include those with quite colorful names:
“Pig-in-a-poke”, involving the sale of a presumably prized thing
(a pig) rolled into a bag (“poke”) but in reality worthless; “The
Spanish Prisoner” about bailing out a wealthy relative from a
remote jail (not unlike much of today's email spam), and “The
Badger Game” where a mark is lured into a compromising position,
then blackmailed. There is honor of a sort among these thieves, with
the first rule being to “have no feelings”, and “never break
code”.
In a fast-paced ninety minutes without intermission, a
lot of turf is covered, though with some rather unexplored underlying
questions, such as Director M. Bevin O'Gara's query “if trust
exists within a family, does that make it easier or harder to hustle
each other?” and the rationale for a “world of misdirection,
sleight of hand, where limits are not limits and you never trust
anyone”. And as the playwright herself has asked, “why was my
mom so hard when I was growing up?”, and the “how and why people
screw over the people they love most”. The actors were up to the
task, especially the maternal Kocar, and the direction was brisk.
The family happens to be Asian American, which poses another thought:
if this work had been written by an occidental playwright, would it
be perceived as prejudicial toward Asian Americans? It's quite
definitely cynical, as Bevin further admonishes the audience to “stay
in your game...you could be duped at any time”, up to and including
its surprise ending. All is, at the end of the play, illusion.
Helping establish that is the creative team, which includes Scenic
Designer Cameron Anderson, Costume Designer Tyler Kinney, Lighting
Designer Annie Wiegand, Sound and Original Music Composer Arshan
Gailus, Projection Designer Garrett Herzig and Magic Consultant Evan
Northrup.
If you come from a relatively functional family, this
probably won't be your “poke”. But if stings and capers (or the
science and math behind them) are your thing, then do be lured to the
Lyric Stage Company. “Fast Company” is the grift that keeps on
giving.
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