Review: LUCY AND CHARLIE'S HONEYMOON at Lookingglass Theatre Company

Lucy and Charlie are Asian American newlyweds on that “Vigilante Sh*t” (to borrow from Taylor Swift) in Matthew C. Yee’s premiere musical LUCY AND CHARLIE’S HONEYMOON. With book and music by Yee and direction by Amanda Dehnert, this is a hilarious and original ride. The pair rob a convenience store at the top of the play using a toy gun...and that act propels them on a wild adventure, which is told through funny book scenes and songs from Yee’s distinctive rock score. 

Yee borrows narrative conventions from classic American Western films to tell the story of the rebellious first-generation Asian American couple. He has infused some classically American cultural details into the show, but brilliantly inverts them. It’s a treat to see Lucy and Charlie as take on “Bonnie-and-Clyde” style roles. 

The score has major rockabilly vibes, and the cast members also take turns playing instruments and providing backing vocals for one another on the musical numbers. Thus, there’s a hybrid ensemble/band vibe to the whole production.  The production design and the real ensemble feel also fit like a glove with the “outlaw” theme. Yu Shibagaki’s set combines all sorts of found objects into a stunning visual display; in fact, there’s so many items included that audience members are encouraged to play “I Spy” at intermission to spot some of them. Sully Ratke’s costume designs are genius, providing unique details for each character and also even incorporating jokes (see: the fantastic smiley cowboy face emoji pin that Mary Williamson’s Officer Feinberg wears on her security officer vest). 

Yee’s score has a unique rocker vibe that requires capable voices but not necessarily big ones. That works incredibly well with this ensemble’s singing; this isn’t a crew of big belters, but they all have big personalities. Aurora Adachi-Winter’s tone in particular lends some pop punk vibes to Lucy’s solo songs, particularly “I Am Not Your China Doll.” It’s fitting for her character’s rebellious personality. 

Yee plays Charlie, and he’s of course written a role that shows off his considerable vocal talent. Yee and Adachi-Winter also have convincing chemistry and play off each other beautifully. There seems to be real trust between the actors, which makes them all the more convincing as newlyweds getting into increasingly more ridiculous hijinks. 

Yee and Adachi-Winter are in great company with the rest of the cast. Wai Ching Ho is an out-and-out delight as Charlie’s Grandma. Ho has impeccable comedic timing. She has a capable scenic partner-in-crime as Daniel Lee Smith, who plays Charlie’s video game playing Uncle Jeff. Harmony Zhang is moving as Bao, a Chinese immigrant that Lucy encounters on her journey with Charlie. Zhang has moments to exercise her comedic chops, but she also lends a gentle touch to this considerably more somber role. 

Because it wouldn’t be an outlaw story without villains, Yee has also given us Martin, a self-absorbed and menacing sex trafficker (Doug Pawlik), and his newly hired sidekick Gabriel (Matt Bittner). Pawlik plays every inch the mustache-twirling villain, while Bittner plays Gabriel as a sweet but fumbling idiot. The two together are an entertaining study in contrasts. 

Rammel Chan is a scene stealer as Charlie’s younger brother Peter Chan, who’s had major aspirations of becoming a member of law enforcement since childhood. Let me tell you that I cackled out loud during his solo number “Policeman Peter Chan.” Chan plays the role so magnificently that it’s hard to imagine any other actor doing as well; it’s such a great fit for him. He truly understands the rules of comedy; Chan never lets up on Peter’s serious nature, and that’s exactly why it’s so hilarious to watch him. 

Williamson is great as Peter’s boss Officer Feinberg, who’s deeply dedicated to her security officer role but also in some ways woefully ignorant (She continually emphasizes that Peter is going to be a “great Chinese security officer.”) Through Feinberg’s character, Yee is able to explore the archetype of the well-intentioned white person who still misses the mark. I think it demonstrates Yee’s talents that he does so in a way that draws attention to the issue but still garners empathy. Plus, Williamson is an absolute hoot in all of her scenes—particularly her bit at karaoke night. 

I laughed out loud many times watching LUCY AND CHARLIE’S HONEYMOON, but for an overall funny show, it ends on a surprisingly sad note. The musical could still use some tightening, and right now, it seems like Yee was unsure how to tie it all together at the end. 

LUCY AND CHARLIE’S HONEYMOON is wholly original and has a distinct point of view and style. It’s always a treat to see new musicals that try something totally different. Yee provides an interesting perspective on the Asian American experience, and while the show highlights the challenges that the characters navigate as Asian Americans, it also keeps us laughing along the way. It’s to Yee’s credit that the humor doesn’t at all undermine that identity exploration; instead, both elements work in harmony. 

LUCY AND CHARLIE’S HONEYMOON plays through July 16, 2023 at Lookingglass Theatre Company, 821 North Michigan Avenue. 

Photo Credit: Liz Lauren

Review by Rachel Weinberg

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