Review: South Coast Repertory Presents YOU ARE CORDIALLY INVITED TO THE END OF THE WORLD!

Now having its World Premiere production at OC's Tony Award-winning South Coast Repertory as part of its annual Pacific Playwrights Festival, Keiko Green's quirky yet genuinely touching YOU ARE CORDIALLY INVITED TO THE END OF THE WORLD! comes off as a bold and emotionally resonant new theatrical work that many will either need to embrace with a completely open mind or be intriguingly perplexed throughout by its proud, endearing eccentricity. 

Along its fantastical, imaginative trek towards an ending that is both heartbreaking yet celebratory (spoiler alert: there's a dance party at the end), the play—which continues performances through May 3, 2025 in Costa Mesa—admirably intertwines themes of mortality, human kindness, our world's continuing environmental crisis, and loving but fractured familial bonds, delivered via a winning blend of humor, heart, and poignancy.​

One might understandably assume that a play that chronicles a main character suffering through terminal cancer might be a total bummer to sit through—most certainly are. But Green, armed with her wicked sense of humor, approaches this heady material with plenty of surreal quirkiness and dark comedy that make the whole affair an occasion for recurring laughter amidst all the self-reflection and philosophical quandaries. 

But, oh, don't worry… tears might still be shed, too, depending on how much of a heart you have with you coming into the theater.

That idea of a not-so-pity-party vibe arrives long before the play even begins as you step into SCR's main theater space which, for now, has been transformed slightly into a queer-bent dance club complete with strobe lights, a disco ball, and familiar club-thumping dance mixes pumping through the speakers from the sound guy acting like a DJ. Soon the "club" opens up to the wider cosmos, where our otherworldly narrator sets us up to witness the supposed end of the world.

I, for one, found myself mostly enchanted with this fascinatingly-staged play, eventually making the conclusion that this superb production is bursting at the seams with extravagant imagination and searingly relatable motifs that draw both joy and sorrow (sometimes in adjacent scenes). By taking on personal grief alongside the dangers of global catastrophe, the play—directed with a playful, mesmerizing vision by Zi Alikhan, who blurs raw emotions with winking theatricality—offers up a poignant reflection on death and its deeper meanings, while finding the humor in between.​

At its true core, YOU ARE INVITED… dives head-first into the existential questions many of us have, perhaps, pondered at one time or another about what it must mean for a person to live a significant life—and whether that life on this one planet we're on has made enough of an impact. The play even posits… is an average person just insignificant?

That notion of living a worthy, impactful-enough (or impactful at-all) life weighs heavily on the play's three compelling main characters who make up the central family unit at the center of the narrative.

Several players enter the room, but the main thrust of the play follows affable family man Greg (the lively Joel de la Fuente), who, upon receiving a terminal diagnosis of Stage IV pancreatic cancer, suddenly feels an intensified connection to the also-"dying" planet Earth, leading him to believe that saving our world might be his path to salvation. 

In his mind, Greg perceives his slow crawl towards death as mirroring our Earth's own ever-worsening environmental crisis—and that both occurrences are tethered to one another in a sort of symbiotic trajectory. 

So… will saving the planet save him, then?

This parallel invites audiences to consider the interconnectedness of individual and planetary mortality—and whether or not Greg's assessment is rooted in genuine personal introspection and thoughtful insight or just the irrational ravings of a man in continuous physical and mental decline.

"Being sick is better than feeling crazy!" Greg surmises.

Greg's family, as one might expect, doesn't take the news of his ailment—or the resulting behavior from it—all that well, and are reacting accordingly. 

His wife, Viv (stunningly embodied by Orange Is The New Black's Alysia Reiner), strives to act strong and put-together on the surface for everyone (even at a support group), while, in reality, aching badly on the inside, as she also tries her best to cherish her and Greg's remaining time together. This leads to lots of put-on smiles and supportive, encouraging acquiescence, even for Greg's newfound obsession with climate change. Early in the play, though, even after hearing the terrible diagnosis, Viv and Greg share a flirtatious rapport that's endearing to watch, but also heartbreaking to think about when we eventually realize what they're destined to lose.

Meanwhile, Greg and Viv's 19-year-old non-binary child, M (gracefully played by River Gallo, who also serves as the play's fourth wall-breaking narrator/emcee), tries to live an authentic life while trying to achieve self-fulfillment amidst this exacerbated tumult that has befallen their family with this news of their dad. The stress of this situation only further justifies their secretive behavior, which involves not only hiding a cute nerdy boyfriend Will (the excellent Rafael Goldstein) but also having a job at a local queer club/bar that occasionally allows them the opportunity to put on a drag act for patrons. 

For his part, Greg isn't making things easy for M. Sometimes we see Greg still struggling—despite genuinely trying, but often forgetting out of sheer force of habit—to call his kid by their preferred new single-letter moniker and their preferred pronouns (Mom Viv is better at it). 

Even with all this, there's no doubt that there is definite love present here, and when all three lead actors are on stage, there is a palpable affection present that every audience member can feel from their seat. In that sense, observing this family's dynamic really made me feel extra empathy for them… as if they, of all families, do not deserve to go through such heavy burdens.

But, alas, there is tension present, and it continues steadily thanks to Greg's progressing mental episodes (or, perhaps, he really is getting supernatural visits from magical figures!) which has now further manifested into watching endless marathons of nature shows, digging up holes all over their yard, and having outrageously colorful interactions with not only a life-size plastic green army man (also played by Goldstein in hilarious costume) plus a talking frog and a talking rat, but also a wildly outrageous version of climate activist Greta Thunberg (the hilarious Anna Lamadrid) constantly showing up in their home. 

Unsurprisingly, the use of such surreal, fantastical elements certainly allows Green to enrich the otherwise heavy-subject narrative with a blanket of dark, outlandish humor that smartly underscores the play's exploration of existential themes. This funny and, yes, entertaining side-by-side setup—melding absurdity with sincerity—gives the play a palatable way to show the intersections of both personal and global crises as seen within the family's journey as a microcosm for broader societal concerns, while also giving audiences the extreme specificity of their respective individual turmoils as (mostly) universal and relatable. I cannot tell you how seen I felt with the scenes involving Viv having to quell her true feelings at a support group gathering—my, have many of us known that!

The resulting laughter works wonderfully as Green employs humor not merely as a vehicle for much-needed levity but also as a means to engage viewers deeply with challenging subjects in a more pleasurable way. Thus, even as the play delves into themes of death and environmental despair, it maintains a hopeful tone throughout, leaving audiences with a sense of thoughtful catharsis rather than hopeless desolation.​

Honestly, I have to say, though it took me a few minutes into the play to really jump fully on board with its purposely-audacious style, this infusion of a serious narrative with uber-magical realism and theatrical innovation made things so much more engaging, fun, entertaining, and emotionally accessible overall. 

Much of that can be attributed to not only the terrific performances of the cast dramatizing Green's really smart, witty script, but also the technical elements that went into the production to carry out this unique vision. 

Throughout the entirety of the 100-minute, intermission-less play, the production doesn't try to hide the technical mechanics of how the story is being told—a hint at the many meta qualities employed by the play. 

Occasionally, stage hands and crew members clad in all black and headset mics dart in and out from all corners of the stage to place/remove props or take down/expose/move set pieces while openly interacting with the actors who are still in character (at one point a crew member just casually waltzes in from the wings to attach an I.V. bag to Greg with a knowing wink as if that crew member was a nurse in the play rather than a means to change the scene).

The set—designed by Adam Rigg—presents a blend of flat, purposely artificial-looking facades and unpainted structural foundations that get moved around like dollhouse pieces that lets in magical things. This is cleverly paired with some striking, environmentally-enveloping projections designed by Nicholas Hussong, Barbara Samuel's vivid lighting designs, and Lux Haac's creative costumes to create a world that creatively blurs reality and imagination.

In one delightful visual surprise that I will try my best not to spoil, there comes a point early in the play when a living room appliance comes to life (well, at least in Greg's head) that had the audience gleefully cheering in its simple but brilliant creativity, setting us up for an evening full of such surprises that produce smiles and giggles mixed in with all that pathos and catharsis.

It's clear that from the transparency offered by our narrator—from the feelings felt to the presence of exposed machinations that transform the play's many spaces—that there's no hiding we're all watching a play happening right now. 

Why present this kind of "openness" in the staging? Well, it is my belief that the playwright and author wanted the audience to see that unvarnished truths—even with the presence of wildly imagined, kinda magical things happening—are always there to remind us of the stark reality that's holding it all up just below the surface. There's hope and escape, but real life always sneaks back in. Even the best-looking facades we put on daily can't truly hide what's underneath.

The lead cast, of course, is just exceptional in bringing Keiko's narrative to vivid fruition.

As terminally-ill dad Greg, de la Fuente is wonderful at eliciting both genuine laughs and genuine empathy as he weaves his character through both real pain and fantastical imaginings. His scenes with Reiner are electric, while his scenes with Gallo will make you feel like you just want to call a parent after the play to say you love them.

The superb Reiner shines as both a wife and mom struggling to keep it together while also giving a middle finger to anyone who dare question her methods of coping. Of all the characters in the play, many of us will get her right away. Sexy, powerful, sympathetic, and remarkably buoyant all at once, Reiner is just exquisite in this role. 

And as M, Gallo presents a very likable persona that pierces through the heart and elicits our understanding—quite a remarkable feat for a character that exists in an increasingly-troubling, more hostile new normal in 2025 for anyone in the trans/non-binary community. 

As M begins and ends this, essentially, 100-minute drag story session, we are treated to a point of a view of a person who goes through something quite sad, but somehow has come out on the other side still full of hope and big dreams. When all is seen and done, M—as the play's narrator—is, actually, the main controller of not only what parts of their story we are seeing, but also how we are getting this story. Eventually, M even demands the audience to participate in elevating our own personal losses out loud—a touching moment that had me feeling grateful.

The rest of the show's awesome ensemble cast offers great support throughout, coming in and out as different characters that are admirably distinguishable from each other. 

LaMadrid's memorable portraits are just so, so good as not only Viv's uppity sis Lila but also as the precociously defiant climate activist Greta Thunberg (exaggerated accent included). Goldstein, as M's adorkable nerd boyfriend Will, really stands out while delivering a terrific anti-capitalist rant during a delightful dinner scene that had the audience erupting in ravenous applause, while also coming in later as various other characters (both realistic and highly-imagined) with definitive distinctions (his life-size green army man is a highlight). And, finally, Sharon Omi is exceptional playing multiple peripheral characters (Greg's oncologist, a Door Dash driver forced to stay at a birthday party, a next door neighbor), but is most notable as Janet, a lesbian Viv meets at a support group.

I had to struggle a bit to find something to gripe about this fantastic play, and, for the most part, there is plenty here to cheer for, even if the play has room for minor tweaks here and there, as any first-time play may need in its evolution. But if I really had to, I'd say my only true objection—which is more of a wish, actually—is that the ending song selection could have been a more overtly joyful (perhaps more widely-known) song that, first, would have allowed Gallo to really strut their stuff and do a mutha-effin "lip-sync for their life" moment and, second, that a better song choice would've gotten the audience much more amped to stand up and join in on the dance party with much more verve and abandon (kudos to de la Fuente who can be seen bustin' out hella awesome dance moves upstage before his bows). That ending really needed a Cece Penniston "Finally"-type of a finalé button, even though what we ended up hearing still gets the job done if only with a slightly less woo-hoo factor than I would have hoped.

Satisfyingly poignant, lovingly hopeful, cleverly sardonic, endearingly jubilant, and hilariously wicked, YOU ARE CORDIALLY INVITED TO THE END OF THE WORLD! is a brilliant new play that revels in its eccentricity, yet, thankfully, doesn't quite shield you from genuine, gut-wrenching emotions that tug at your heart strings—at least for those that have an ounce of empathy still left in them after everything that has happened in our real world of late.

Despite serious themes that hover in its orbit, the play does its best to keep things light and almost absurdly ridiculous, which sort of adds to its overall otherworldly charm. While some may find this slightly too much (I can see some cynics rolling their eyes), the play sustains an appealing allure and winning spirit that keeps things upbeat yet poignant. And though it can get heady at times, Green brings it back down to earth when necessary.

This production—which began at SCR as a staged reading just last year—stands as a testament to Keiko Green's skill in crafting narratives that are both thought-provoking and emotionally resonant. By blending the personal with the universal, and the tragic with the comedic, the play offers a unique and quirky theatrical experience that challenges audiences to reflect on their own lives and the world around them—and perhaps change a few minds into being more open along the way.​ Green's play also invites us to reflect on the fragility of life and to realize the enduring power of human connection.

But more than anything, this play manages to offer joy in a world that seems bleak and tragic. It also presents the idea that kindness—however small or insignificant—could have an impact on another person, and, by extension, on yourself, too. As citizens of the world (not just an isolated nation), we have to remember that the world beyond our periphery offers lots to love.

After all, as a few characters say in the play… "the world is too big to not be kinda magical!"

In the ever increasing divided world we live in now, YOU ARE CORDIALLY INVITED TO THE END OF THE WORLD! offers a lovely view of the possibilities of spreading joy, kindness, and understanding as a way for healing an aching world.

** Follow this reviewer on Bluesky / Instagram / Twitter X / Threads: @cre8iveMLQ **

-----

Photos by Robert Huskey, courtesy of South Coast Repertory.

Performances of Keiko Green's YOU ARE CORDIALLY INVITED TO THE END OF THE WORLD! at South Coast Repertory continue through May 3, 2025. Tickets can be purchased online at www.scr.org, by phone at (714) 708-5555 or by visiting the box office at 655 Town Center Drive in Costa Mesa. 

To post a comment, you must register and login.

Need more Los Angeles Theatre News in your life? Sign up for all the news on the Fall season, discounts & more...