By: Darryl Reilly
Charlie Chaplin in his bowler hat, baggy pants, twirling his cane, and euphorically performing his silent movie routines, is the captivating opening sequence of playwright Philip W. Chung’s engaging, historical fantasia, My Man Kono. It spans from 1903 to 1961, and dramatizes Chaplin’s relationship with a Japanese immigrant he hired as his chauffeur in 1916, he acted in one of Chaplin’s movies and became a trusted confident. They fell out in 1934, over Chaplin’s new girlfriend, Paulette Goddard’s power grab. D.W. Griffith, Mack Sennett and Mary Pickford, appear in sly cameos.
Toraichi Kono (1885-1971) was born in Hiroshima, Japan, and arrived in the U.S. in the early 20th century. Mr. Chung’s well researched and imaginative scenario with its zesty dialogue, depicts Kono as an aspirational buccaneer; there’s gambling and wheeling and dealing before meeting Chaplin. The compelling first act is set in Japan, and then amidst the roaring atmosphere of early Hollywood. It beautifully presents the bond between Chaplin and Kono, two striving immigrants. Chaplin’s famous movies are referenced, as well as his shady private life; troubleshooter Kono’s responsibilities include accompanying his boss’ paramours to Mexico for abortions. A revelatory sequence involves an attempted assassination attempt on Chaplin when he visited Japan. There is also tragedy, including Kono’s wife’s death and then estrangement from Chaplin.
The second act is uneven, it is life after Chaplin. Just before W.W. II, Kono is accused of being a Japanese agent and spends the next seven years detained. My Man Kono now becomes a heavy, legal procedural laden with racist, anti-Japanese sentiments propagated by the U.S. government. Kono is released, gets a job with his lawyer and returns to Japan for a wistful finale. Though the play’s two acts don’t quite jell, this world premiere production presented by the Pan Asian Repertory Theatre has plentiful virtues, including its dynamic ensemble.
(Photo credit: Russ Rowland)
Brian Lee Huynh offers a serene and vivid portrayal of Kono. English accented Conlan Ledwith dazzles as Chaplin, totally evoking the essence of that celebrated, complex figure. The charismatic Jae Woo is outstanding in several comic and officious roles. Kiyo Takami is touching as Kono’s wife and fierce as a prosecutor. Wiry James Patrick Nelson is a marvelously gruff F.B.I. agent. Beaming Cody LeRoy Wilson is animated as a rival to Kono. Sunny Emma Kikue scores in several roles, including the wily Goddard. Robert Meksin is of cheery benevolence as Kono’s lawyer.
Director Jeff Liu’s breezy physical staging achieves momentum and picturesqueness. Scenic designer Sheryl Liu’s artful, gray components in concert with Cinthia Chen’s arresting projection design, achieve an epic and panoramic scope. That is complemented by Asami Morita’s textured lighting design which creates a vintage, and fantastical sheen. Sound designer Howard Ho realizes the abundant music and effects with bracing clarity. Karen Boyer’s grand costume design is centered on authentic period detail.
My Man Kono is a worthy dramatization of a fascinating, little-known real-life episode.
My Man Kono (through March 9, 2025)
Pan Asian Repertory Theatre
A.R.T./New York Theatres, 502 W 53rd Street, in Manhattan
For tickets, visit www.panasianrep.org
Running time: two hours including one intermission