"AF the Musical: Jo-Jo San" is an Asian minstrel show that’s ridden by marketing strategy, and neither playwriting nor music composition dexterity.

In case someone forget: it’s 2008. The heart-wrenching, or tear-jerking, tale of Nagasaki’s world-famous geisha whose suicide proves her true love for her American navy officer husband has already been lauded one of the most politically incorrect and culturally insensitive tales. 

Apart from the power of true love, it also re-affirms the civilized and masculine West’s supremacy over the mythic and feminine East. This fact, in addition to Puccini’s exemplary music of course, is part of the reason why European and American audiences fill up opera houses whenever “Madama Butterfly” is on the marquee.

True Fantasia's advertising campaigns for “Jo-Jo San” led potential ticket buyers to believe that this new musical play adaptation will let them know more about the title character and how true love can transcend cultural boundaries. Instead, the aspiring playwright(s)—by the pseudonym “Tri Yungthong”—overemphasizes the role of Prince Yamadori, turning it almost into another TV love-triangle melodrama.

Plus, for extra fun and ample stage time for all AF stars, the wordsmith(s) overfills the play with a few too many geishas, ninjas, and irrelevant jokes that the plot frequently goes off-track.

Riding on the emotional whirlwind and pop sensation, the music and lyrics--by a team that comprises more than 20 composers and lyricists--lack unity as a whole and oftentimes sound repetitive. The combination of all these makes the two-act show last more than three hours—and not many audiences’ tears are shed.

Costume design is colorful, although one can doubt some historical inaccuracy here and there. Set design, while pleasantly looking, is based on the Italian Renaissance concept of perspective, which is not only outdated but also does not fit the limited depth of the stage. 

On a somewhat positive note: it’s great that the show doesn’t have Japanese surtitles. Despite a Japanese culture consultant's presence on the production team, teh show's generally stereotypical and occasionally careless representation of Japanese culture—especially in the awkward rendition of the most highly revered classical dramatic form of Noh—would probably offend some Japanese audiences. Perhaps, it’s like us watching “The King and I”, minus Rodger and Hammerstein’s music and lyrics.

Apparently, the producer has diligently done their homework, a history one—though not much of Giacomo Puccini's opera, David Belasco's play, John Luther Long's short story, or Pierre Loti's novel.

From their experience with the company's first musical last year (“Ngoen Ngoen Ngoen”), they know some fans will be disappointed if their loved ones’ stage time is limited. And thus, “Jo-Jo San” has two main casts—the first led by Mint, Wan, and Tol; the second Lukpong, Tui, and Nat—portraying, respectively Jo-Jo San, B.F.Pinkerton, and Prince Yamadori.

I watched both star-studded and unprofessionally delayed gala performances on Tuesday and Wednesday (August 5 and 6), and here’s my thought:

Mint’s characterization much better fits the role, and her well-honed acting engages the audience; Lukpong has advanced singing skills, yet seems to be performing in a concert, not a musical drama.

Tui’s singing fits the scores better than Wan, his acting shows more sincerity, although his nice-and-down-to-earth persona makes it difficult for him to become Pinkerton.

With elegance and subtlety, Tol is the consummate Midori; by contrast, some ninjas may have put too much wasabi in Nat’s dinner—his Yamadori seems pissed off consistently from the beginning to the end.

So, the first cast edges the second by 2 to 1. If I had to buy my ticket, I would, after some hesitation, pick them over the other. Of course, the producer would like me to choose both and pay double, and the reason is obvious in the title of their first production last year--“Ngoen Ngoen Ngoen” (“Money, Money, Money”).

Aof AF 2 turns out to be the most commendable star of the evening, as he is a chameleon who can transform himself credibly from matchmaker Goro to a mysterious old man who narrates the story. His singing and dance movements are fluid and effortless.

Veteran actress Daraneenuch Photipiti’s performance as Hitomi is another acting highlight; while comedic talent Im Achita, as an overlooked geisha Miyoko, seems to try to steal every moment and ends up dragging the show even more. By the way, these three supporting roles, as well as those geishas and ninjas, many of whom are forgettable, are not double-cast.

In sum, if you’re a die-hard fan of AF, you’ll enjoy most moments in “Jo-Jo San”. Well, it’s like you’ve been paying for and taking your kids to acting and singing classes. Now that the school holds an annual production, you want to see them on stage, and no matter how many mistakes they make, you cry with happiness, forgetting how much time and money you’ve invested. Like “Jo-Jo San”, it’s a proof of true love, which does exist. Like “Academy Fantasia”, it’s a moment of dreams come true--no matter how long they will last.

>> “AF the Musical: Jo-Jo San” opens tomorrow (Saturday, August 9) and runs every weekend until August 31 at M Theatre (formerly Bangkok Playhouse) on