Pan Asian Repertory Theatre's 13th anniversary revival of its epic musical Cambodia Agonistes is heavy stuff. This elaborate drama, which uses traditional Cambodian dance and 20 musical numbers, traces the violent history of the Khmer Rouge dictatorship over two decades. Through the personal story of My Huoy, a young woman trained as a dancer who experiences psychosomatic blindness in New York due to her former suffering at the hands of the regime, the crimes of this dictatorship are laid bare. Tisa Chang's taut revival is not for the faint of heart, but is a must for those who admire the serious musical that contains a message.
The book by Ernest Abuba mixes flashbacks, song, dance, music, and dramatic scenes, while the music by Louis Stewart is eclectic enough to combine elements of Richard Rodgers, Leonard Bernstein, Benjamin Britten, and Kurt Weill, as well as Asian rhythms. Ironically, Abuba's Asian-sounding English lyrics are most influenced by Stephen Sondheim. The choreography is given authenticity by the presence of Sam-Oeun Tes, a Cambodian master dancer, in two full-length ballets: "Splendors of Cambodia Long Ago" and "The Legend of the Black Lady Ballet." The copious program notes help considerably with the symbolic and surrealistic scenes.
Lydia Gaston as My Huoy is endearing as dancer, actor, and coloratura soprano. Her quiet dignity always holds the focus on My Huoy's story, even when violent and symbolic events swirl around her. As both a dictator and later a factory owner, Ron Nakahara conveys the viciousness and deceptiveness of the Khmer Rouge. Virginia Wing's sensitive social worker, Rebecca Lee Lerman's sarcastic Comrade Neary, and Ariel Estrada's confused intruder all contribute astute performances.
Victor En Yu Tan's atmospheric lighting, Carol Ann Pelletier's colorful costumes, and Kaori Akazawa's stylized settings create a compelling mise en scène. Tom Lee is responsible for the authentic-looking Cambodian masks.