***** Marvelously poignant and outrageously funny, Token Theatre’s “Zac Efron” is bound to put a smile on your face while it reveals deep truths about what it means to be an Asian American living in New York City during the COVID-19 crisis. This world premiere production, brilliantly written by David Rhee, tells a story that can be understood on many different levels. By following the lives of two immigrant gay men, it makes a strong statement about the discrimination and intolerance unjustly directed at Asians at a time when the COVID virus was spreading throughout the United States. At the same time, the story is playful, high-spirited, and tongue-in-cheek—and gorgeously directed by Alan Muraoka. His direction smoothly draws together the characters’ real lives, cyber lives, and lives within their imagination. But it is the versatility of Wai Yim as an extremely talented actor, co-writer, costume designer, hair and wig designer, set designer, and props designer that makes the show a truly one-of-a-kind performance!

Wai (Wai Yim) is a first-generation Chinese American who is very aware that he retains his accent. In China, he didn’t fit in with the other children—and after migrating to the United States with his parents, he didn’t fit in with his peers either. By all accounts, he is a fairy queen, fascinated by his queerness. Wai is a talented actor, who cannot get ahead in a big city like New York at a time when Asians are rarely, if ever, cast in theatrical performances. As he constantly waits for his big break, he turns to the internet. Initially, we see how he hosts a YouTube Channel, which he calls Hornyscope, where we observe how outlandish he can be in his crossdressing and flirtatiousness. His good friend David (Hansel Tan) is a Korean American schoolteacher, who is afraid that he might lose his job should his students and fellow teachers learn about his sexual orientation. In an effort to acquire more followers on YouTube, Wai decides to enlist David to join him in creating streaming videos. It takes awhile for him to convince his friend that this is a good idea, because David basically has to become more comfortable with “coming out of the closet” and overtly acting the part of a gay man online. Eventually David comes on board, but this is largely because he has been unsuccessful in getting good dates: He believes that if he were to become a personality on YouTube, then perhaps more men would be willing to go out with him. David’s only remaining condition is for Wai to get rid of his present YouTube handle. So Wai changes it to Caprihornia when they parade themselves in front of a growing online fan base.

Comedy and drama meld into a complex whole when Muraoka’s fine direction is partnered with Rhee’s mold-breaking script. Through the voices of his characters, Rhee makes plain that mainstream society’s definition of racial prejudice and discrimination has largely been a matter of black and white—and that Asian Americans have consistently fallen between the cracks. We witness how David’s and Wai’s consciousness has largely been formed by their exclusion from white society combined with their desire to somehow fit in and become a part of it. This is when we observe both men’s very different dreams and ambitions. While David is busy trying to find the perfect person to date, Wai finds unrequited love to be the world’s highest calling. In fact, the show’s title “Zac Efron” comes from the star who once was a teenage heart throb. So when David implies that he will only date white men, Wai jokes with him that it doesn’t matter if they are named James or Zac Efron: Basically, as a nonwhite Asian male, David will remain an outsider no matter what—and he’s only fooling himself if he thinks he needs to be something other than himself. In contrast, Wai’s choice of being outrageous is clearly not the solution to relieving his angst about obtaining a meaningful relationship. In contrast to David, Wai finds his ideal persona to be that of The Queen of Swords (Gordon Chow), the card in the tarot deck with which he has the most affinity. Note that this card is representative of a spiritual or energetic force which has no race or ethnicity associated with it. In sharp contrast to the Zac Efron icon who is highly superficial, The Queen is not only wise and deep but wondrously garbed, thanks to the absolutely exquisite costume design by Mara Blumenfeld.

By dividing the stage into three parts, Muraoka effectively moves the action from one part of the stage to another throughout this one-act production. Projection design is gorgeous, thanks to the incredible work of Eme Ospina-López. Consequently, the audience can see what is on computer screens and telephone displays and even what’s in the minds of the characters—because this is projected for all to see. Among other things, the projections feature Cheryl Hamada playing Mrs. Rhee and Wai Ching Ho playing Mrs. Yim, who show up separately in twin video images which are ostensibly screens from their sons’ respective smartphones. The acting on the part of both is so incredible and their manner and expressions are so genuine that you honestly feel that you could go up to each of these two mothers and believe that you’ve known them throughout your entire life. Gordon Chow additionally plays the part of David’s father. Lighting design by Daniel Friedman works very well in demarcating scenes, and sound design by Issac Mandel is nicely done. Lexi Wiley has created the prop design as well.

Although we joyfully watch David’s and Wai’s online antics and are excited to see the increasing number of their subscribers on YouTube, the audience secretly knows that underlying all of their silly behavior is a fundamental sadness. The two men must contend with the reality that they have become the comic relief in a society where they are largely ignored, and their gay public personas have thus become a cover for deep hurt and emotional pain. Their common experience draws them together; however, it is only when there is no ancient tarot deck or state-of-the-art cyberreality to hide behind that their true personalities come out. In the end, the two come to realize that gaining fame and popularity in a virtual world can never be a substitute for the depth of feeling and personal attention that characterize a truly loving relationship.

Tan’s and Yim’s well-timed repartee is completely compelling in exposing their characters’ public and private moments. We in the audience lose ourselves when we see these two actors flaunt themselves before a computer camera, but we take away a much deeper message. Goofing around is funny, and humor is what makes us human—and it also eases the pain of going through the vicissitudes of life, no matter who we are or what our station is. But most importantly, we learn that it is essential to live your authentic life. This story is very touching, and the performances are highly memorable. So go ahead and buy your tickets to see this production now!

“Zac Efron” is playing through July 21, 2024, at A Red Orchid Theatre, 1531 N. Wells Street, in Chicago.

General Admission Tickets: $40 (plus $5 convenience fee)
Students and Military: $20 (plus $2.50 convenience fee)
Industry and Seniors over 62: $25 (plus $3.00 convenience fee)

Performance schedule:

Thursdays and Fridays – 7:00 p.m.
Saturdays – 3:00 p.m. and 7:00 p.m.
Sundays – 3:00 p.m.

Special performances include:
LGBTQ+ Night: Wednesday, June 26 at 7:00 p.m.
Industry Night: Monday, July 1 at 7:00 p.m.
Talkbacks: Thursday, June 27 and Monday, July 1 at 7:00 p.m.

No performances on Sunday, June 30 and Thursday, July 4.

For more information, visit: https://www.tokentheatre.net/zacefron.

To purchase tickets, go to: https://ci.ovationtix.com/27605/production/1202561 or contact the box office at 312-943-8722.

For general information about A Red Orchid Theatre and to see a list of their other offerings, visit: https://aredorchidtheatre.org/.

Also see:
https://www.chicagoasiannetwork.com/posts/token-theatre-debuts-with-rom-com-play-zac-efron

Presented by Token Theatre