On April 11, South Coast Repertory hosted Keiko Green’s world premiere of “You Are Cordially Invited to the End of the World!,” directed by Zi Alikhan. Performed for a full house, the story follows a dying father in a loving family, illustrated by theatrical transitions from a dream space to reality in ridiculous ways. These uniquely eccentric transitions are assisted by an extinct frog, a rat and Greta Thunberg.
Creator and writer of “You Are Cordially Invited to the End of the World!” Green has had her fair share of notable works. A playwright, screenwriter and performer, she also contributes as a screenwriter in the television adaptation of “Interior Chinatown” for Hulu. As most of her work explores the complex world of the Asian American experience, Green is known for her writing style, which addresses social issues through dark humor and multidimensional metafiction.
The hour-and-40-minute play is packed with comedic gags and social commentary that push and pull on the audience’s emotions. The story follows M (River Gallo), a glorious drag performer and the child of two loving and trying parents. Greg (Joel de la Fuente), M’s father, is suddenly diagnosed with stage four pancreatic cancer — but the audience soon finds out that the diagnosis is not so surprising. M’s mother, Viv (Alysia Reiner), does not cope well with this abrupt news and frantically worries for her family.
The world of this play is very much Green’s signature storytelling style — one that breaks the fourth wall and fuses fantastical dream space with reality. It blends generational relevance with emotionally impactful scenes that are both sentimental and comedic, which takes the audience through an emotional roller coaster.
Green collaborates with director Alikhan to imagine an artistic and comedic approach to breaking the fourth wall. They use this tactic to highlight significant moments and lessons which reveal deeper meaning in the story.
“I think something that we’ve talked about a lot is how I hope this play can open the aperture for people to experience lives that are different than their own and to imagine our communities as closer in proximity than we are, especially with the whole fourth wall strategy,” Alikhan said in an interview with New University.
A scene that really solidifies the offbeat, multidimensional tone of the play begins when Greg, depressed following his diagnosis, is watching TV. The TV, initially facing away from the audience, suddenly turns around to speak directly to the crowd. The speaker on the screen slowly and eerily crawls out to explain the escalating danger that the world faces due to climate change. With Alikhan’s direction, Green’s writing is brought to life in a way that makes her message both tangible and impactful. It creates an experience that lingers long after the audience leaves the theater.
Throughout the play, the audience is invited into Greg’s mind, where the line between dream and reality blur. In one dream, Greg is ordered by a human-sized rat to dig a hole, then starts digging one in real life, right in front of his house. The rat from his dream also appears in the real world, further obscuring the boundary between the two. Aunt Lila (Anna LaMadrid) breaks the dream space with a shriek when she sees the rat scurry across the front yard, where a sweating, frenzied Greg is still digging. Strategic writing and visual direction make the hallucinatory effects of this play a visceral, feverishly immersive experience.
Sentiment and sadness are masked with blunt, dark humor throughout. A scene that best represents Green’s style is when M is sitting by their father’s hospital bed. They pour their heart out in love, hate, reminiscence and sorrow, only for Green to wittily undercut the moment with a punchline: “Dad, I found your porn.” The crowd broke out in joyful cackling.
Green uses humor not to lessen the pain, but to earn it.
In an interview with New University, Green said, “There’s something about getting the biggest laugh during the saddest scene of the play. We actually earn those laughs and cries.”
The play’s essence lies in its social relevance, highlighted by its contemporary artistic direction and writing style. Thematically, it taps into Gen Z humor, referencing viral cultural moments such as Greta Thunberg’s iconic “How dare you” meme. M’s boyfriend, Will (Rafael Goldstein), embodies the paradox of today’s youth in working low-stakes paid social media jobs while staying hyper-aware of environmental and social issues.
This unique coming-of-age portrayal serves as an expression of self-love and freedom within the modern family dynamic. This is explored as Greg and M struggle to open up about M’s gender identity. M arrives onstage in three stunning drag costumes, performing songs that reflect their internal conflicts amid deep tension within the family.
In the end, the crowd is drawn into this self-discovery during a long, liberating dance break, clapping along as the characters move their flowing bodies to the upbeat music. By engaging the audience in a dance party, Green offers an immersive experience, inviting audience members to feel the story, not just watch it.
Emerging storyteller Green reflects on the creative process that brought this play to life. In an interview with New University, she said that she sees playwriting as a way to create a shared experience that feels real in the moment. She believes that breaking the fourth wall allows the audience to feel like they’re part of the event, not only watching it.
Though the audience didn’t jump from their seats to dance along with the cast during the ending credits, the energy of Green’s intended experience rippled through the room. This was apparent in the two-minute standing ovation that followed full of applause, tearful faces, collective sighs of relief and smiles.
Cameryn Nguyen is an Arts & Entertainment Staff Writer. She can be reached at camerynn@uci.edu.