The Off-Broadway Theatre Review: Roundabout’s Chinese Republicans
By Ross
“She’s late, the girl.” The line lands like a flared warning before anything else has the chance to settle. It is tossed out with precision, edged with judgment, and it tells us immediately that this is not a room built around comfort. It is a room built on scrutiny, expectation, and the complicated idea of support that comes with conditions. That first moment sets the tone for Chinese Republicans at the Roundabout Theatre Company’s Laura Pels Theatre, a play that begins as sharp satire and steadily reveals something more fractured beneath it.
Written by Alex Lin (Loudun, 1632), the production places us inside an affinity group of high-powered Chinese American women navigating the upper tiers of the financial world. The idea suggests solidarity. What unfolds instead is something far more layered and complex. These women, as directed by Chay Yew (Public’s Mojada), offer each other guidance and support. Yet, it is often laced with competition, generational divide, and deeply ingrained ideas about success and survival. The room is both a refuge and a battleground.
At the centre is Ellen, originally known as Ailin, played with steady determination by Jennifer Ikeda (Broadway’s Top Girls). She moves through this world trying to understand not only how to succeed, but what that success requires her to give up. Around her, the group exerts its influence, shaping and challenging her in ways that feel both protective and problematic. The play’s strongest tension lies in that push and pull, the desire to belong set against the cost of that belonging.
That disruption arrives through Katie, played in this performance by Sasha Diamond (Public’s Teenage Dick), stepping in for Anna Zavelson. Diamond handles the role with clarity and presence, stepping confidently into a part that carries significant narrative weight. Katie begins as an eager participant, grateful for the space she has been invited into, before shifting into something far more defiant. Her perspective challenges the group’s unspoken agreements, and it is her refusal to fall in line that pushes the room toward open conflict. However, as written, Katie functions more as a catalyst than a fully developed character, her transformation driving the action forward without always allowing us to fully understand the depth behind it.
The performances ground the production, particularly in the contrasting performances of Jodi Long (Netflix’s “Dash & Lily“) as Phyllis and Jully Lee (Broadway’s KPOP) as Iris. Long’s Phyllis is brash, unapologetic, and unsettlingly direct, a woman who has carved out her place by refusing to soften her edges. Her question, “I can’t use my own slur?” lands with a kind of defiance that ripples through the room, exposing fault lines that no one can easily repair. Lee’s Iris offers a different kind of volatility, shifting between camaraderie and confrontation with a precision that makes her scenes some of the most compelling in the play.
The dialogue is consistently sharp, often very funny, and rooted in a keen understanding of how language and engagement can both connect and divide. The play moves quickly, propelled by conversations that feel lived in and immediate, even when they veer into exaggeration. Early on, the production leans into that energy, presenting the corporate world as a place of absurd rituals and coded behaviour. Yet, as the play progresses, that tone darkens, revealing the emotional cost beneath the surface and the high price of compliance.
That shift is where the production finds both its power and its difficulty. Lin’s script takes on a wide range of themes, including workplace toxicity, assimilation, intergenerational conflict, anti-Asian violence, and the pressures of navigating a system that was not built to accommodate them. Each of these ideas is compelling on its own. Taken together, they sometimes compete for space, creating a narrative that at times feels scattered rather than fully integrated. The play moves from comedy to confrontation with a speed that can feel jarring, and not every thread is given the time it needs to fully land.
The staging reflects this energy. The rotating, red-walled restaurant set by Wilson Chin (Broadway’s Cost of Living) keeps the action in motion, allowing scenes to shift quickly and fluidly. Early on, the production introduces a more stylized element, a nightmarish Mandarin game show sequence, that pushes the theatricality a bit too far. That moment is inventive, thanks to impressive lighting by Jeanette Oi-Suk Yew (Broadway’s Kimberly Akimbo) and costumes by Anita Yavich (Broadway’s Floyd Collins). However, it feels at odds with the more grounded scenes that surround it, especially since it is a unique moment that never returns.
Even within that unevenness, the production never really loses its grip on the audience’s attention, largely because of the strength of the performances and the intelligence of the writing at the line level. There is a constant sense that something important is being examined beneath the surface, even when the play itself is still searching for its clearest path through that material.
What makes Chinese Republicans stand out is its willingness to sit inside contradiction. These are characters who have been overlooked, dismissed, and passed over, and yet they also perpetuate the very systems that have limited them. They speak with clarity about their own struggles while casting judgment on others in ways that are uncomfortable to witness. That tension is never resolved, and perhaps it should not be.
By the time the play reaches its final moments, we are left in a space that feels deliberately uncertain. The questions raised linger without easy answers, much like Ellen’s own journey through a world that offers opportunity alongside compromise. And that opening line echoes back in a different way. “She’s late, the girl.” It no longer feels like a simple critique of timing, but a reflection of how difficult it is to arrive, fully and on your own terms, in a place that keeps shifting beneath your feet.
