Theatre review: No Zen, No Chill and All Comedy: As If Theatre Company Takes on Yoga Play
Tuesday, March 24, 2026
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| Kimberlee Wolfson, Hank Tian, and Jessica Marvin-Romero Photo by Christine Mitchell |
As If Theatre Company presents Yoga Play by Dipika Guha
Directed by Agastya Kohli
MARCH 19 – APRIL 5
Thurs-Sat @ 7:30 pm, Sun @ 5:00 pm
Purchase Tickets Here
- General Admission – $25
- Seniors / Students / Military $20
- Special Pay What You Can Pricing March 26-29
- Tickets available at the door - but performances have been selling out
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| Cast is Sri Kanduri, Hank Tian, Kimberlee Wolfson, Doug Auerbach, and Jessica Marvin-Romero. Photos by Christine Mitchell. |
Theatre review by Kindle Carpp
Joan is tasked with stabilizing not just a company, but an entire corporate identity crisis. Jojomon who refers to its customers as “the family,” a familiar piece of corporate language that rings uncomfortably true.
The crisis feels plausible, and the stakes are clear enough to keep the audience invested in how the company will attempt to recover. When the solution arrives, it escalates in both scale and absurdity, fully embracing the play’s satirical roots.
Despite the title, there is a surprising lack of actual yoga, though the repeated motif of breathing exercises becomes a comedic through line as characters hold hands and take deep breaths together. These moments recur throughout the play, often for comedic effect and consistently land with humor.
The production’s design reinforces this blend of realism and theatricality. Chandria Danelle creates a dynamic, dual-level set that shifts between Jojomon’s corporate office and a yoga studio. Screens placed on either side of the stage simulate teleconference calls, a BBC newscast, and an interview toward the end of the play, grounding the action in a recognizable modern workplace. This use of technology allows actors to transition seamlessly between roles and locations while adding both a clever technical element and visual interest. The transitions are smooth and purposeful, guiding the audience’s focus and supporting the play’s brisk pacing.
Dialect work, guided by Marianna de Fazio, supports the script’s wide range of characters. The accents remain consistent, helping each role feel distinct and clearly defined. At times, the intentional accent exaggeration creates moments of discomfort, particularly as the play leans into its exploration of cultural appropriation, but that tension aligns with the play’s thematic intentions.
The ensemble proves to be a strong and cohesive unit, delivering fast-paced dialogue with precision and energy. The comedy relies heavily on timing and commitment, and the cast consistently rises to meet those demands.
Doug Auerbach takes on multiple roles, most notably Bernard Brown and John Dale. As John Dale, he embodies a familiar brand of out-of-touch executive, capturing the obliviousness of a leader disconnected from everyday realities. His performance feels specific and recognizable, grounding the satire in lived experience. As Bernard Brown, Auerbach shifts his energy to reflect a different kind of misunderstanding. The character’s inability to grasp the nuance of cultural appropriation mirrors the blind spots seen earlier, and Auerbach draws a clear and effective through line between the two roles.
Jessica Marvin-Romero also takes on multiple roles, with Romola standing out as a highlight. As a quintessential Los Angeles yoga influencer, she leans fully into the archetype with confidence and precision. Her comedic instincts are sharp, and she delivers some of the play’s most memorable lines with flair, including the delightfully biting “Namaste, bitch!”
Sri Kanduri as Raj anchors one of the play’s more emotionally demanding arcs. He captures the character’s growing anxiety with clarity, allowing the audience to follow each escalation as the stakes rise. His performance balances humor with genuine tension, giving weight to even the play’s most absurd developments. Kanduri fully commits to Raj’s journey, making each moment of panic feel grounded and immediate. His interactions with Joan highlight the increasingly precarious situation, and his ability to navigate both comedy and stress adds depth and dimension to the role.
Hank Tian as Fred provides a steady counterbalance within the ensemble. His portrayal emphasizes Fred’s loyalty to the company while hinting at the personal motivations behind that loyalty. This layered approach gives the character added depth. Tian’s performance is measured and thoughtful, offering a quieter presence that complements the more heightened characters around him. His consistency helps anchor the emotional core of the play and strengthens the overall ensemble dynamic.
Kimberlee Wolfson leads the production as Joan with a commanding and nuanced performance. She initially presents Joan as the most grounded figure in the room, someone who clearly sees through the corporate façade. This sense of control makes her eventual unraveling all the more compelling to watch. As Joan’s plans grow increasingly extreme, Wolfson carefully tracks each shift in logic and tone. She makes even the most outlandish decisions feel internally consistent, guiding the audience through Joan’s reasoning with precision. Her performance anchors the play and ensures that the satire remains character-driven.
At its core, Yoga Play explores cultural appropriation of yoga with a knock on effect, one that is repackaged and resold in increasingly complex ways. Yoga is removed from its Indian roots, repackaged and sold by westerners to westerners; then has those westerners use Indians to repackage yoga back to westerners with a veneer of authenticity. The play does not attempt to resolve these contradictions, but instead invites the audience to sit with them. The result is a comedy that is both entertaining and thought-provoking, even when it leans into discomfort.
In the end, Yoga Play proves that when the business of wellness loses its balance, the fallout can be as hilarious as it is revealing, and this production is well worth the emotional stretch.
 |
| Dual-level set by Chandria Danelle |
The production’s design reinforces this blend of realism and theatricality. Chandria Danelle creates a dynamic, dual-level set that shifts between Jojomon’s corporate office and a yoga studio. Screens placed on either side of the stage simulate teleconference calls, a BBC newscast, and an interview toward the end of the play, grounding the action in a recognizable modern workplace. This use of technology allows actors to transition seamlessly between roles and locations while adding both a clever technical element and visual interest. The transitions are smooth and purposeful, guiding the audience’s focus and supporting the play’s brisk pacing.
Dialect work, guided by Marianna de Fazio, supports the script’s wide range of characters. The accents remain consistent, helping each role feel distinct and clearly defined. At times, the intentional accent exaggeration creates moments of discomfort, particularly as the play leans into its exploration of cultural appropriation, but that tension aligns with the play’s thematic intentions.
The ensemble proves to be a strong and cohesive unit, delivering fast-paced dialogue with precision and energy. The comedy relies heavily on timing and commitment, and the cast consistently rises to meet those demands.
Doug Auerbach takes on multiple roles, most notably Bernard Brown and John Dale. As John Dale, he embodies a familiar brand of out-of-touch executive, capturing the obliviousness of a leader disconnected from everyday realities. His performance feels specific and recognizable, grounding the satire in lived experience. As Bernard Brown, Auerbach shifts his energy to reflect a different kind of misunderstanding. The character’s inability to grasp the nuance of cultural appropriation mirrors the blind spots seen earlier, and Auerbach draws a clear and effective through line between the two roles.
Jessica Marvin-Romero also takes on multiple roles, with Romola standing out as a highlight. As a quintessential Los Angeles yoga influencer, she leans fully into the archetype with confidence and precision. Her comedic instincts are sharp, and she delivers some of the play’s most memorable lines with flair, including the delightfully biting “Namaste, bitch!”
Sri Kanduri as Raj anchors one of the play’s more emotionally demanding arcs. He captures the character’s growing anxiety with clarity, allowing the audience to follow each escalation as the stakes rise. His performance balances humor with genuine tension, giving weight to even the play’s most absurd developments. Kanduri fully commits to Raj’s journey, making each moment of panic feel grounded and immediate. His interactions with Joan highlight the increasingly precarious situation, and his ability to navigate both comedy and stress adds depth and dimension to the role.
Hank Tian as Fred provides a steady counterbalance within the ensemble. His portrayal emphasizes Fred’s loyalty to the company while hinting at the personal motivations behind that loyalty. This layered approach gives the character added depth. Tian’s performance is measured and thoughtful, offering a quieter presence that complements the more heightened characters around him. His consistency helps anchor the emotional core of the play and strengthens the overall ensemble dynamic.
Kimberlee Wolfson leads the production as Joan with a commanding and nuanced performance. She initially presents Joan as the most grounded figure in the room, someone who clearly sees through the corporate façade. This sense of control makes her eventual unraveling all the more compelling to watch. As Joan’s plans grow increasingly extreme, Wolfson carefully tracks each shift in logic and tone. She makes even the most outlandish decisions feel internally consistent, guiding the audience through Joan’s reasoning with precision. Her performance anchors the play and ensures that the satire remains character-driven.
At its core, Yoga Play explores cultural appropriation of yoga with a knock on effect, one that is repackaged and resold in increasingly complex ways. Yoga is removed from its Indian roots, repackaged and sold by westerners to westerners; then has those westerners use Indians to repackage yoga back to westerners with a veneer of authenticity. The play does not attempt to resolve these contradictions, but instead invites the audience to sit with them. The result is a comedy that is both entertaining and thought-provoking, even when it leans into discomfort.
In the end, Yoga Play proves that when the business of wellness loses its balance, the fallout can be as hilarious as it is revealing, and this production is well worth the emotional stretch.
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