Taylor Kare and Nelson Wong on Sophie Tang’s excellent set.
(Photo by Sarah Race)
I really enjoyed My Little Tomato — until I started to get tired of it.
It’s audacious, that’s for damn sure. In Rick Tae’s new script, Keaton Chu inherits his parents’ produce farm when they’re killed in a freak accident. Produce wholesaler Joe McKinley interrupts Keaton’s grief to insist that he honour his delivery obligations.
Keaton’s family is Chinese Canadian. Joe’s Irish on one side and Japanese on the other. Keaton and Joe are both gay and, when they figure out they’re attracted to one another, things quickly get complicated. Joe reminds Keaton of his white “best friend” from university, who coerced him into sex then ignored him. Keaton is still carrying a torch for white guys and feels like he’s never been enough. Joe, who is a bit of a bar star, is sexually confident, but emotionally he’s just as lost as Keaton is — never white or Japanese enough.
Right off the top, director Cameron Mackenzie serves notice that he’s going to deliver a slammer of an interpretation. When the lights come up, the first thing we see is Keaton lying in a circular pool — it looks like concrete — neck deep in brightly coloured plastic balls, an agonized look on his face. (Sophie Tang’s set is terrific.) More balls rain down on Keaton from high in the proscenium and right away we know two things: this character is awash in grief and the storytelling is going to be surreal. [Read more…]
