My Man Kono
By Philip W. Chung, Directed by Jeff Liu
A.R.T./NEW YORK MEZZANINE THEATRE | 502 West 53rd Street
February 6 - March 9
Photo Credit: Russ Rowland
Toraichi Kono: muse, valet, private secretary, and bodyguard to Charlie Chaplin. Such accolades for a man who immigrated to the United States to build a life for himself and his wife, Isami.
Pan Asian Repertory Theatre, now in its 48th year under the leadership of founder Tisa Chang, continues its trailblazing commitment to Asian American voices and stories. This season, the company has created space for playwright Philip W. Chung to bring Kono’s remarkable yet forgotten story to the stage.
Kono’s journey—from Hiroshima to Hollywood, from trusted confidant to accused spy—is a gripping testament to resilience. His story unfolds through the lens of his interrogation as an alleged spy for Japan, a haunting reminder of history’s cyclical nature. Kono was Chaplin’s personal assistant from 1916-1934 where he was more than a Guy Friday but confident, fixer, and part-time actor in Chaplin’s films. After their working relationship ended, Kono was accused of espionage and labeled “enemy alien” due to discriminatory laws.
Brian Lee Huynh delivers a powerful performance as Kono, capturing his tenacity and determination as he navigates his path from Japan to Seattle, Hollywood, internment camps, and, ultimately, his freedom. Robert Meksin’s portrayal of Wayne Collins, Kono’s attorney, highlights the crucial role of advocates in times of injustice, as Collins fought tirelessly for Japanese and Japanese Americans who were wrongly persecuted. The ensemble—Emma Kikue, James Patrick Nelson, Cody LeRoy Wilson, and Jae Woo—flawlessly shifts between roles, embodying characters that propel the narrative forward while bringinh versatility and depth. Conlan Ledwith masterfully embodies Charlie Chaplin, not only capturing his signature style and mannerisms but also taking on the role of the judge overseeing Kono’s hearing, adding a striking duality to the performance.
Jeff Liu’s direction creates an engaging and immersive world that is enhanced by the set and projection design. Both are seamlessly integrated, creating a visually dynamic landscape. Sheryl Liu's set design featured modular flats and set pieces of varying sizes that transformed effortlessly into windows, doors, platforms, and benches, making the space fluid and alive. Cinthia Chen’s projection design layered still and moving images, further enhanced by Asami Morita’s lighting design, which masterfully used color to evoke emotion and time. Morita’s lighting was particularly striking—neutral tones recalled the past, reminiscent of Chaplin’s black-and-white cinema, while vivid bursts of color highlighted memories and pivotal historical events. Karen Boyer’s costume design perfectly captured the time periods we moved through, grounding each moment in authenticity. Howard Ho’s sound design and music enveloped the audience, with an especially haunting moment when Isami sang her ethereal Japanese song, transporting us into something sacred and deeply felt.
Kono’s life is a reflection of larger themes that still resonate today—immigration, detention centers, executive power, yellow journalism, and the racism embedded in America’s history. Fabricated narratives were wielded to justify policies and actions, shaping a reality that led to one of the darkest chapters of World War II. Shame, shame, shame—propagated and leveraged in order to annihilate.
Review by Malini Singh McDonald.
Published by Theatre Beyond Broadway on Feb 15th, 2025. All rights reserved.