The other night I saw what I thought was the most remarkable play I’ve seen in perhaps 10 years. (Since I saw the premiere production of “How I Learned to Drive,” a play I now teach.) It was “Yellow Face,” by David Henry Hwang, now playing at the Mark Taper Forum here in Los Angeles. Even though I had to get up at the inconceivable time of 5 a.m. the next morning for USC commencement, there I was at 11 p.m. on the plaza of the Music Center declaiming the wonders of the play for Dorinne Kondo, the friend/colleague who invited me, and Tim Dang, artistic director of co-producing company East West Players. I’m going to write more about this play when I have more time, but let’s put it this way:  I wondered aloud how long it would be before “Yellow Face” is published, because I’d like to read it and I might put it into the syllabus of one of my classes.

Today I had lunch with another colleague, a playwright whose work I respect. She’s smart and talented. She wanted to know if I’d seen “Fat Pig” at the Geffen. (Answer: Not yet.) I brought up “Yellow Face,” preparing to launch into full shared excitement. Her reaction:  She left at intermission. “I don’t like plays about writers writing about writing,” she said.  That line was especially ironic to me because in 1992 I wrote a play that specifically satirized a form of novels I loathe:  writers writing about writers who write about writers. (The specific novel that first got me on this rant was “The Dean’s December” by Saul Bellow.) To me, “Yellow Face” was about many different wonderful things, interwoven and unified. To her, it was a play about the playwright writing this play (which, granted, it is on the surface). We saw the same play (well, she saw only half) and arrived at completely different conclusions.

I’ve grown used to having disagreements about art. (And even higher forms, like comic books.) But “Yellow Face”  is precisely the sort of play I go to the theatre hoping to come across — surprising, funny, moving, troubling; something that makes me challenge my own notions of what is right behavior and what is wrong behavior. To me it seems so ambitious, and so successful on its own terms, and so important, that it is unequivocally great. But after listening to my friend this afternoon, I suspect that my dread that night — that the critics are going to reject it as either self-serving or badly constructed — is exactly what’s going to happen.

I hope not.

And I’m going to advise everyone I know to see this show.

This entry was posted on Monday, May 14th, 2007 at 10:49 pm and is filed under On seeing, Thoughts, Writing. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.