Review: DRAGON MAMA written and performed by SARA PORKALOB at Geffen Playhouse

I was introduced to Broadway star Sara Porkalob when I saw the first play in her Dragon Cycle series, Dragon Lady, in which she recounted her grandmother’s life as an immigrant struggling to make her own way in the United States. As such, I was very pleased to be able to visit with her grandmother Maria Porkalob, the real “Dragon Lady” as she greeted guests at The Geffen Playhouse prior to seeing the second installment of the cycle, DRAGON MAMA, written and performed by Sara in which she recounts the story of her mother, Maria Porkalob, Jr.

In this next chapter, Sara takes on many personas who interact with her mother during her lifetime, each one a standout as an individual through unique voice and movement thanks to Sara's great skill with improvisation. Packed with ghosts, Filipino gangters, and a killer '90s R&B soundtrack, this award-winning, high-octane solo show is a raw, hilarious, and deeply moving story of resilience, queer love, and what it takes to break free and find home.

We first meet the very young DRAGON MAMA, Maria Porkalob, Jr., as she dreams of a bigger, better life beyond Bremerton, WA where her own mother, the Dragon Lady, had settled after giving birth to her at age 19. While sharing stories of the hardships, discrimination, and family arguments, Maria Jr. turns to rather shifty characters who attempt to lead her on the path to hell, which, in a moment of sexual confusion, leads to the birth of Sara at age 19. Does this mean a family cycle of giving birth at age 19 was set in place? 

But when an unexpected chance to escape arises, Maria Jr. faces an impossible choice - stay with her struggling family, which includes her Dragon Lady mother, Charlie, Uncle Ronald, and her own new baby, all portrayed by Sara to perfection, or chase freedom to find her true self in the wilds of Alaska? Her journey to self-realization encompasses working on a rundown cannery boat cleaning up dead fish heads thanks to the assistance of the run-down boat’s opinionated caption, Greg, an astoundingly astute voyeur of human behavior. I especially enjoyed the dialogue between these two characters, both portrayed by Sara who shifts between the two with amazing clarity and humor.

Without a social life, friends, or family in Alaska, DRAGON MAMA takes on many shifts for her fellow crew members, noted by captain Greg during her 90-day review, which she passes with flying colors. Realizing how lonely she is, Greg invites her to watch movies in his cabin about finding yourself such as Forrest Gump and The Joy Luck Club, which she believes is his way of wanting to get in her pants. But when she reveals she is gay and not interested, to her surprise Greg also admits he is too and recommends a friendly gay bar in Anchorage she should visit the next time they dock in Anchorage.

The story continues to follow DRAGON MAMA’s journey to her true self, learning to accept who she really is and not worry about what others think of her. And along the way, Sara treats us to meet many of the crazy characters who populate her own mother’s life, each guiding Maria Jr. to becoming the best Mama any girl would ever want. The focus of the play revolves around Sara Porkalob asking herself - and us - three fundamental questions: How do we change as individuals while staying together as a family? How do we continue to love people who must ultimately bend to the chaos of change to stay in our lives? And how do we change while continuing to love ourselves? These universal questions will resonate with every audience member, regardless of our perceived differences. After all, we are all human.

Performed in the intimate Audrey Skirball Kenis Theater with audience members seated on three sides of the stage, scenic design by Randy Wong-Westbrooke’s includes a few furniture pieces in front of an ever-changing and inspiring-to-look-at backdrop, highlighted by Spense Matubang’s lighting design. Costume design by Sarah Lindsley allows Sara to change characters quickly with incidental clothing perfectly matched to each character’s persona. Sound design by Erin Bednarz allows the inclusion of the rocking songs and atmospheric sounds that accompany each of Dragon Mama’s escapades, while always being able to understand each word spoken. Production Stage Manager Nick Carvalho keeps the scene changes moving along quickly.

Directed with reverence to Sara’s acting style with emotional connection by Andrew Russell, Sara Porkalob’s masterful improvisation skills pull in audience members to interact with her when she breaks the 4th wall, reminding us she is presenting her mother’s story and not her own – just yet.  For that, we will have to wait for the third and final installment of the Dragon Cycle series, DRAGON BABY, in which Sara will tell us the story of her own life, complete with just as many interesting characters as each of her two plays preceding it! 

DRAGON MAMA, Part II of the Dragon Cycle, written and performed by Sara Porkalob, continues through April 12, 2026 on Wednesday and Thursday 7:30 p.m., Friday 8:00 p.m., Saturday 3:00 and 8:00 p.m., and Sunday 2:00 p.m. in the Audrey Skirball Kenis Theater at Geffen Playhouse, 10886 Le Conte Avenue, Los Angeles, CA 90024. Run time is 2 hours, including one intermission. Tickets range from $36 - $139, available by phone at 310.208.2028 or online at www.geffenplayhouse.org. Discounted student tickets with proper ID are available at the box office prior to each performance.

Please note the production includes strobe lighting effects, loud music, and theatrical haze, and contains profanity, sexual content, and themes of self-harm and child abuse. Suggested for audiences age 12+, with all Geffen Playhouse productions intended for an adult audience; children under 10 years of age will not be admitted. Street meters or pay lot parking in the area.