Based on an ancient Buddhist folktale passed down for generations, this mellifluous and winsome world premiere is sure to at least summon forth a warm smile, even in people with the stoniest of hearts. A "little jewel" discovered and directed with notable simplicity and obvious affection by Paul Koslo, T.Y. Joe's original piece taps lovingly into his own Korean heritage. It is the enchanted fable of a blind beggar who makes a deal with a monk to restore his sight—a deal he cannot possibly complete. When his young daughter agrees to sacrifice her own life so he might see again, a chain of events leads her on a doomed sea voyage, followed by a period spent as a guest in a netherworld under the ocean, where she is reunited with her dead mother. She is next transformed into a lotus blossom given as a gift to the royal family, but she is instantly returned to her own form when the dashing Prince of Korea falls in love with her at first sight. Yes, it's definitely a long day for this stoic little maiden.
This is certainly a worthy effort, though not necessarily right for the audience it now attracts. The Lotus Maiden would make an excellent weekend matinee for parents to share with their children; but it's a weeknight presentation, ending just before 10 p.m., at a very urban location. The broadly stylized acting technique, reminiscent of that of Story Theatre, is surely appropriate, but it should be geared to younger attendees who would also overlook—or even be fascinated by—the unbearable on-and-off-stage meandering of two leading characters. Add some minor glitz to keep the kiddies interested, and this would be the kind of easy bare-bones fare that could play indefinitely if marketed to families and school groups.
Nathan Ha is particularly charismatic as the sweet-faced monk who narrates: charming, sincere, and appropriately over-the-top. Lucas Lee is likeable as both the dashing Prince and a limping lowlife sailor. Tyler Tanner is noteworthy without overdoing it in several small roles. Kipp Chambers has a charming turn as the hopping underwater hare, astonishingly spending an entire scene crouching. Robert Isaac Lee has some fine moments as the blind Shim but seems to be struggling both for lines and for a consistent pacing throughout.
There is an immediate sense of wonder and imagination in Dan Jenkins' vivid set design that evokes a sweeping countryside. Simple wooden benches are used to double magically as everything from the palace accoutrements to streams. It shouldn't be surprising, then, that Jenkins also created a surprisingly sophisticated lighting plot, considering the sparse number of instruments at his disposal.
"The Lotus Maiden," presented by and at the MET Theatre, 1089 N. Oxford Ave., Hollywood. Mon.-Wed. 8 p.m., Sun. 3 p.m. Feb. 9-Mar. 17. $12. (323) 957-1152.