Three bridesmaids adorned in fuschia, orange and yellow harmoniously invited a packed Pope Auditorium to their “old Kentucky home” on Nov. 14.
Fordham Theatre’s second mainstage production of the season, “Kentucky,” was written by playwright Leah Nanako Winkler and directed by professional theater director Kat Yen. The play explores the nuances of identity within a mixed-race family, the ways in which people find escape in dysfunctional relationships and the different meanings of home. Brought to life by a powerful cast and impressive creative and production teams, Fordham’s rendition is a must-see.
The play follows the journey of Hiro Rose (Lynn Masako Cheng, Fordham College at Lincoln Center (FCLC) ’27), a Kentucky-disgracing, Japanese-American New York transplant who has proudly built an independent life and routine for herself in the Big Apple. Though she is estranged from her family in the South, Hiro thrusts herself on a plane back home with the ambition — much to the distaste of her therapist, Larry (Matt Bowen, FCLC ’25) — of stopping her sister Sophie’s wedding.
Shayeb dominated the stage as James with his booming voice. His strong choices ignited bold responses which set the familial conflict in motion.
Sophie (Zoe Manarel, FCLC ’27) has devoted herself to being a born-again Christian and gets engaged to Da’Ran (Abdur Ibrahim, FCLC ’26), who she’s only known for six months. This news sends Hiro into an anxious frenzy, so she tries to convince Sophie to leave Kentucky and move to New York.
Cheng’s high-energy performance, fueled by humor and intentionality, brought a fierce Hiro to life. Cheng and Manarel’s connection was a melodramatic and honest ode to sisterhood. Manarel performed with a sugary Southern drawl, but her confrontations as Sophie carried a weight that indicated a clear history with every other character.
Beyond the sisterly reunion, Hiro must also revisit her tumultuous relationship with her father, James (Alexander Shayeb, FCLC ’25) and strained relationship with her mother, Masako (Caroline Ketcham, FCLC ’26).
Shayeb dominated the stage as James with his booming voice. His strong choices ignited bold responses which set the familial conflict in motion. Contrastingly, Ketcham softened the atmosphere through Masako’s sincere benevolence and evoked compassion in the audience during her moments of heart-wrenching maternal distress.
Reconnecting with her family for the first time in seven years, Hiro struggles to navigate her Japanese-American identity, as it entangles with the grievances she has with her parents.
Amid the drama, ViVi Aiello, FCLC ’25, playing Hiro’s childhood cat named Sylvie, alleviated the familial tension with lovable sass and meaningful meows.
Trudy Cohen, FCLC ’27, also delivered a mischievously comical performance as Grandma. The way she portrayed the aged woman who was full of life. Grandma, despite relying on her cane, maintained a youthful and spunky personality.
Da’Ran’s parents, the devoutly religious Amy (Chandler Ryan, FCLC ’27) and Ernest (T-4 Harris, FCLC ’27), completely foil the dysfunctionality of the Rose family through their unwavering warmth and charm.
Reconnecting with her family for the first time in seven years, Hiro struggles to navigate her Japanese-American identity, as it entangles with the grievances she has with her parents.
“Something that impacted me deeply was that I had these two extreme identities that were in opposition to each other. In Japan, I was a child model for my ‘Western looks,’ and then in Kentucky, I was like ‘the Asian girl.” Leah Nanako Winkler, playwright
During a panel discussion with Fordham students on Nov. 7, playwright Winkler expressed how Hiro’s story mirrored elements of her own life, such as her biracial identity and understanding of Christianity.
Winkler was born in Kamakura, Japan, but moved to Lexington, Kentucky, when she was six years old.
“Something that impacted me deeply was that I had these two extreme identities that were in opposition to each other. In Japan, I was a child model for my ‘Western looks,’ and then in Kentucky, I was like ‘the Asian girl,’” Winkler said.
Winkler also said that there was a clash of her Japanese and American identities.
“In order to retreat into myself and for self-care, I started writing a lot,” Winkler said. “Writing just saves my life.”
Winkler fused her real, lived circumstances with theatrical imagination in “Kentucky,” creating an entrancing, relatable experience.
“I don’t transcribe my life,” she said. But, while at her own sister’s wedding, “I feel like I grew. I feel like I understand my sister better. So, I started writing emotionally from that place.”
Much like Hiro and Sophie’s story, when Winkler attended her sister’s wedding, she experienced religion in a new way.
“God was portrayed as this beautiful, non-discriminatory, just ‘God is love’ vibe. And I was like, ‘Oh, I completely misunderstood her.’ She went into religion the same way I went into art,” Winkler said. Religion to Winkler’s sister is what art is to Winkler; a form of healing from trauma.
Yen’s direction, with assistant direction by Mariana Miranda, FCLC ’27, staged gorgeous scenes.
Such empathetic revelations are the beating heart of this play. Fordham’s production not only encapsulates this love beautifully, but the performers share it generously with the audience, too.
Hiro’s reconnection with her high school classmates Nicole (Sophia Funicello, FCLC ’27), Laura (Ada Holmes, FCLC ’26) and Adam (Kamau Nosakhere, FCLC ’25) depict the love that Hiro missed out on when she cut ties with Kentucky.
Nosakhere poured his heart out onstage in his portrayal of Hiro’s love interest. His earnest line delivery radiated hope and a palpable adoration of Kentucky. Hiro’s restlessness and Adam’s tenderness meet each other so intensely, and Nosakhere and Cheng’s dynamic was passionately executed.
Yen’s direction, with assistant direction by Mariana Miranda, FCLC ’27, staged gorgeous scenes. Their leadership propelled an upbeat pacing which heightened the stakes of the plot and then allowed the audience to soak in every purposeful pause that arose.
The lighting design by Associate Professor of design and production Chad McArver and Luke Willson, FCLC ’25, added depth and dimension not only to the stage, but to the plot as well.
The cast seemed to delight in working together as an ensemble, and their movements on stage, featuring jubilant choreography by Natalia Guedes, FCLC ’25, were enhanced by the scenic and lighting design. The thoughtful design complemented each other with a sense of recognizable naturalism and splashes of magical realism.
From the pastel yellow walls and floral detailing of James and Masako’s home, to the paper-lantern-lined walls of the church, scenic designers Yi-Hsuan (Ant) Ma and Yun Yen bring Kentucky to life with a sense of warmth and careful attention to detail.
The lighting design by Associate Professor of design and production Chad McArver and Luke Willson, FCLC ’25, added depth and dimension not only to the stage, but to the plot as well. Some notable moments include lights that glided across the stage to resemble car headlights whizzing past, and the darkness of the night that enveloped Hiro and Adam when they climbed onto a roof. The twinkling starlight in the sky made the actors’ eyes glimmer.
Every element of the show contributed to the themes in “Kentucky.”
“It can be fantastical and strange, but it can also be very grounded and painful,” Cheng said. “And I think that’s what life is. I think that’s why the play feels so universal. It doesn’t matter if you’re Japanese or from the South. Anyone can relate to the feeling of leaving your home and coming to a new place.”
The night concluded in a standing ovation as the cast of “Kentucky” took their opening night bows. They were met with overwhelming laughter, tears and soulful applause — a successful Fordham Theatre production indeed.
To come home to “Kentucky,” audiences can attend performances through Nov. 23.