(L-R) Simone Brazzini, Patrick Reilly, and Reiko Aylesworth (Photo – Brian Hashimoto)
The menagerie referenced in the title is a teaser that the play identifies with Tennessee Williams’ 1944 play, The Glass Menagerie, but this is no simply tweaked version of that memory play.
By Carol Germain
Although a number of theaters perform slightly reimagined versions of Shakespeare plays and many are quite creative and enjoyable, Frou Frou at Boston Court Pasadena takes it to another level. Reaching light years beyond the restrained yearning and repression of the 1940’s in Willams’ play, specifically incorporating queer issues and a wide range of ethnicities, John Anthony Loffredo’s brilliant incorporation of the original basics into an entirely different theater experience. Under the brilliant direction of Zi Alikhan and with the perfectly nuanced performances of the four actors, it reveals angst turned to anger, yearning and confusion escalating for all until finally it’s clear that the loss of control for each individual, and the inability to coordinate their out-of-sync realities, has nowhere to go except to reach explosion level. The audience is wide-eyed and literally on the edge of their seats because the possibilities keep changing.
The pace gets faster and more aggressive, the roles shift and reverse, and reality and control pivots, until it becomes apparent that there will be no group hug among the characters at the end. Mamma (Reiko Aylesworth) is funny without intending to be, she is sincere in her persona of a mother from decades ago, but in 2025 most can’t help but laugh. She suffers her own personal anxiety because of her loneliness but has decided that as long as her children grow up and accomplish the goals she thinks they should, she could be sufficiently satisfied (provided, however, that “daughter” L’s (Simone Brazzini) future husband is wealthy enough to save them from financial ruin, because Mamma’s ex has cut them off and sold their house). However, L, who isn’t even certain of their true nature, sexuality, and desires for the future, clearly has marked Mamma’s dream of the role of “young lady focused on marriage to a rich husband” off the list of options. L spends the vast majority of time day and night isolated and getting stoned in privacy to ease debilitating social anxiety, communicating only online.
Son Harold (Patrick Reilly), who primarily dresses in tutus and scarves and whose every physical movement is focused on practicing for his dream job as a ballerina. He’s aware of his sexual self, but Mamma snaps and ridicules him. Finally, the Universe decides to throw a torch into this simmering, smoldering situation and see what the resulting bonfire yields. A stranger (Ryan Imhoff) appears at the door, identified only as “Man” apparently because they don’t really need to give him a name until they decide where he fits into the family. And he can’t decide whether he needs to be clothed, eventually, nonchalantly deciding on full frontal nudity, accompanied by outrageous, funny, and frightening physical and verbal expression.
Now belly laughs, confusion, apprehension, and wide-eyed “what the….” reactions grip the audience because our brains can’t quickly process the possibilities presented by the playwright. The story train goes faster and faster, unclear who is the captive and who is the master, whether Man was meant for L or for Harold (or Mamma?). But above all, the audience has connected with the humanity of all the characters and is left with their own thoughts on how they relate to the characters and how the issues play in their own lives. It is lovely to feel exhausted by the mind-spin created by this play.
It is wonderful to see this play in these times when the country seems to be going backwards in love, acceptance, and human rights. Boston Court Pasadena’s Executive Director Manuel Prieto says, “In a time where executive orders are stripping away protections for the LGBTQIA+ community, this play celebrates the many layers, versions, and possibilities of queerness that exist. Relevant and riveting, it’s a piece that boldly explores gender and sexuality in the context of familial bonds, and reminds us of the complex uniqueness of our community.” I agree, and hope we see many more productions exploring and celebrating the diversity of our population, not only as to queerness but also as to ethnicity, spirituality, and other social and personal differences. It’s time to be proud of our unique position of having one of the most ethnically diverse and multicultural populations in the world.
Ryan Imhoff and Reiko Aylesworth (Photo – Brian Hashimoto)
Frou-Frou: A Menagerie of Sorts
Written by John Anthony Loffredo
Directed by Zi Alikhan
Cast: Reiko Aylesworth, Simone Brazzini, Ryan Imhoff, and Patrick Reilly.
Thru March 30, 2025
Boston Court Pasadena
70 N Mentor Ave.
Pasadena, CA 91106
Box Office: 626-683.6801
EMAIL: boxoffice@bostoncourtpasadena.org
Leave a Reply