A Love Letter to Story Telling
It is funny how I thought of this headline while watching the play, and when reading one of the descriptions, “A Love Letter to Story Telling” was part of it, which makes it even better because that means the message is truly getting through.
We Lovers, written by Christian St. Croix, premiered at the 2024 San Diego Fringe Festival with a 40-minute version. For LFT’s new season, the play received a bonus of 40 minutes. The now 80-minute with no intermission story is set in a remote safe space full of props and lanterns for its visitors to leave the outside world behind for a couple of hours and just get immersed in telling (and acting) their stories.
Mama’s Boy (Lester Isaruiz), who comes from a domestic violence household, is invited to join the crew during these magical hours. Wolf & Bird (Kandace Crystal), a married mom of one, expecting her second child, and Doctor Sister (Kailey Agpaoa), the youngest member of her family and parent caretaker, are experts on the dynamic led by Little Bit (William BJ Robinson), a teacher who is paying for his own books for class due to the lack of support.
The very baroque-looking set design by Heather Larsen is lovely and balanced, giving each scene a full frame where the actors move back and forth. I immediately noticed a yellow Converse sneaker neatly placed amongst everything. Was that a love wink to director Kate Rose Reynolds? (IYKYK).
The Lightbox space is unique, and it can have some challenges. Mashun Tucker’s lighting added a needed visual relief and depth to contour these stories along with their players. Estefanía Ricalde’s sound improves and becomes more detailed with each production. For Lovers’ the effects of being “outside” in a remote place, Ricalde’s sound was key, having crickets and creatures serenade the ear. And, I have to admit that the airplanes flying by every couple of minutes blended in with no issue. Marc Akiyama’s original music compositions added the magic that filled the experience.
Taylor Jo Oxley, who was in charge of movement, and Reynolds tag-teamed strategically as each actor flowed throughout the stage with extended movement, which would seem easy…William BJ Robinson dominates physical movement majestically. From one second to the next, to the floor and back up, also reflecting beautiful training. Reynolds’ direction conveys freedom and interpretation, allowing the piece to breathe. There is also an improv feel and puppetry move that, aside from being creative, is very beautiful and almost ethereal, utilizing kitchenware, and not to spoil it too much, incorporating it as another character.
Heather K Nunn’s costumes are relatable and practical everyday wear with a personality flair. And, not me always noticing “odd things”, Mama’s Boy’s boots did give a little ASMR, which I enjoyed. (go figure).
Kandace Crystal is usually behind the scenes, in charge of intimacy, but for this production, we saw Crystal in her full histrionic glory as the sassy and opinionated Wolf & Bird. Intention to gesture is precise. She rounds out the stage, and hopefully, we will see more of her on the boards. Kailey Agpaoa is fierce as Doctor Sister, effectively conveying the character’s emotions and using them as fuel to nurture the stories and characters within. Happy to see Lester Isaruiz in more productions and more frequently, as he is giving different energy and layers. Isaruiz portrayed the complexity and sensitivity of Mama’s Boy with heart and a boyish playfulness that was very sweet.
We Lovers truly provides that escape within the escape, highlighting the magic of creating and telling stories. It also gave me the feel of a piece for the youth.
See for yourself and get your own take. Currently playing until October 12. Please note that tickets are available free of charge. Yes, tickets are in section FREE. So, take advantage of this opportunity. Lightbox Theatre is at Liberty Station, where there is plenty of parking, also for FREE.
Liliana Talwatte is the Assistant Director, and Tim Benson is the Stage Manager.
