Review: ‘Dragon Mama’ at Geffen Playhouse
- Anthony Gutierrez
- Mar 19
- 2 min read
Sara Porkalob has returned to the Geffen Playhouse with “Dragon Mama,” the second installment of her Dragon Cycle trilogy, written and performed solo by Porkalob. While the first play, “Dragon Lady,” told the story of her grandmother, “Dragon Mama” focuses on her mother's journey from a young queer woman searching for love and belonging to a young mother seeking the freedom to forge a new life for herself and her daughter.
Porkalob performs over 20 parts in the show, including her mother, her mother’s brothers and sisters, and everyone in between. We follow Maria Porkalob, Jr. from her early days as a responsible eldest child, through her rebellious teen years, and finally into young motherhood.
As we see Maria’s character grow alongside her siblings, we also see the world through her eyes. Maria lives with the pressure of caring for her siblings while navigating the minefield of young love. Later, as a young queer woman on her own, she finds belonging in places she'd least expect. The journey is heartfelt, suspenseful and intimate all at once.
Porkalob doesn't shy away from the darker aspects of her family history either. Her characters retain authenticity because of their shortcomings, as when Maria herself loses control and lashes out at her family. In a particularly somber moment, Porkalob addresses the audience directly to confront some of the grimmer details of her family's past. The courage required to divulge such intimate family history is immense, and here it pays off wonderfully to create a powerful show.
Director Andrew Russell, who is directing all three plays in the Dragon Cycle, scales back from the previous installment. Here Porkalob performs alone on a stage adorned with a single chair. Without distraction, the audience can fully immerse themselves in her performance. Scenes come and go in quick succession, giving the show a cinematic feeling of fast cuts and sweeping jumps in time.
While the stage lacks scenery, it certainly doesn't lack depth, thanks to Spense Matubang's lighting design. With so few physical elements on stage, lighting sculpts the empty space into homes, nightclubs, front lawns and the interiors of memory. Paired with sharp sound design by Erin Bednarz, the two elements work in perfect synchrony with Porkalob's movements.
Sara Porkalob delivers a memorable, entertaining, and powerful performance. “Dragon Mama” tells a story specific to its characters but speaks to a human experience shared by many. I will certainly be back for the conclusion of the Dragon Cycle, as well as anything else Porkalob does in the future.
“Dragon Mama” continues through April 12 at the Geffen Playhouse’s Aubrey Skirball Kenis Theater, 10886 Le Conte Ave., Los Angeles, with shows Wednesdays and Thursdays at 7:30 p.m., Fridays at 8 p.m., Saturdays at 3 p.m. and 8 p.m., and Sundays at 2 p.m. For tickets and information, call the box office at 310-208-2028 or visit GeffenPlayhouse.org. Run time is 2 hours, including intermission.
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