Adriana Sevahn Nichols and Nick Caballero - Photos by Brandon Le |
By Joe Straw
One needs only to glance at the photographs of María Irene Fornés to
know she is Cuban and an artist. In her photograph she steadies her upper torso
against the wall looking straight ahead, abundant curly hair and glorious high cheekbones. She has the stare of an artist of someone who
sees more than what is in front of her and eyes that projects a backstory that
is her life. It’s all there and she is
beautiful. – Narrator
Hero Theatre presents The Conduct of Life by María Irene
Fornés and directed by José Luis Valenzuela through June 25th, 2017.
The show runs about an hour in length and it is filled with
so much life.
This was my first time at the beautiful Rosenthal Theater at
the Inner City Arts building in Los Angeles. Everyone was courteous and
welcoming.
I arrived early, too early, parking was plentiful along the
street and I thought there would be plenty of spaces when I came back. So, I quickly
drove away expecting to find the nearest Starbucks to drink coffee and hang
out. But, when I got back, the street
was filled with cars. A man saw my
predicament and tried to wave me into a lot.
I demurred, but finding nothing now on the street I drove back to him. From
there he ushered me into the lot where parking was free!
The Conduct of Life is a visual feast! One can expect this from José Luis Valenzuela,
perfectly sui generis in his craft, and in the way he adds a pourboire by
filling our needs for a complete theatrical gratification. One can take a pick from all that is included. The first is the hypnotic Lighting Design by
Johnny Garofalo, which takes the audience from a sterile home into the deep
dark blue and red recesses of a torture chamber. Or it might be John Zalewski’s Sound Design that
manages to fill the humiliated silences and other sounds that heightens the pain
of troubled souls in manipulations and torture.
This first disturbing image is one of shadows of a young
woman, back lit by blue lights.
Nick Caballero and Antonia Cruz-Kent |
Nena (Antonia Cruz) is tied up in the basement. She is hanging from a suitcase belt that is
tethered from the ceiling. She waits blindfolded
for whatever comes hoping the outcome is to her benefit. Snatched from sleeping
in the streets, she is now a prisoner of a man with a troubled soul. Torture is
not new to him.
His name is Orlando (Nick Caballero) exercising in his
living room. Having the blood run
through his system so other things can work. He thinks out loud about his job,
being a second lieutenant at the age of thirty-three and trying harder in his
job of getting ahead in the military.
But in Orlando’s mind, they
are on to him. They know and they wait for his next mistake, a big
one that will cause his downfall. He thinks about that all the time.
Alejo (Jonathan Medina) watches, not saying a word, his
every movement, as though he were incapable of speaking. Something is going on with his friend, or
military associate, a man he has known for many years.
And Leticia (Adriana Sevahn Nichols) just listens to her
husband Orlando carrying on the way he does, he is abusive to her and her
nature, they once loved, but he despises her now for reasons that she doesn’t
understand and won’t divulge with Alejo standing there watching the both of
them.
“He doesn’t love me.” - Leticia
Leticia says this to Alejo after being humiliated by her
husband. She has a hard outer surface and
pretends not to be hurt. Still, she asks
Alejo to help her, with her political science studies.
Adriana Sevahn Nichols and Elisa Bocanegra |
Despite the things going on in the house, Leticia is
managing the household chores with Olimpia (Elisa Bocanegra) an obstructionist
maid. Preparing the day for meals is
never a mundane act especially when Olimpia describes the correct way in which things
should be done. Leticia can only stare in disbelief listening to the structured
stuttering ramblings of a meticulous maid.
And then there’s that other stuff going on in the basement,
the ignored screams emanating from the cellar, conflicted with the silence cries
of loneliness, variegated with pain, and finding no solutions to make right the
present or the future, all in this the conduct of life.
One can’t give too much of this away for the sake of
spoiling your viewing pleasure. The show
is only 60 minutes long.
With José Luis
Valenzuela, the director, it’s about finding the connective tissue, the
core of the relationship that moves a character. Each character embodies their
own specific conduct of life and we watch passing judgment on how things should
or should not be, god-like to our collective core. Sometimes it is beautiful to watch and
sometimes we want to turn our heads. But
whatever we feel it all makes for beautiful theatre.
Elisa Bocanegra
is a fascinating actor. Her voice as the
stuttering Olimpia is unique, rich, and something you will never hear again
from any actor. Bocanegra also gives Olimpia an attitude, a silent strength, a
woman of compassion and secrets. This is
a performance not to miss.
One can’t see a lot of redeeming qualities in the character Orlando,
played by Nick Caballero. Certainly, when an actor approaches a role he
wants to find the positive virtues in a character, one that gives a creative
choice and strong objective. This is a
character that wants a higher rank in the military but gets confused by mental obstacles
and physical conflicts. His actions are unbecoming of an officer, and he is no
gentleman. His actions must weigh heavily on his being, but I saw none of
that. He must know that if he is caught
there may be strong repercussions, but he continues as though little of that
matters. Caballero presents a strong figure and is strong in his craft. But, there is doubt about this character, the
end result, and the thing we are supposed to feel at the end.
Antonia Cruz-Kent
plays Nena, the victim who stands with the aid of a strap hanging from the
ceiling. She has been taken off the
streets and now is a captive. She cowers in a corner, scared out of her wits,
and wonders when this will all stop. Cruz-Kent does an admiral job playing the
victim. There is more needed from this
character after she is released with her mental and physical state of mind. The
relationship with her captor must present many more layers after she has been
released and into a maid’s costume. Nevertheless, it is very brave work.
Jonathan Medina
plays the military friend Alejo. He is a very quiet man, watching things that
go on about this household without saying a word. He mostly keeps to himself and observes the
machinations around the house. Alejo recognizes the tensions but can't put his
finger on the solution. He knows what
his friend is about, the torture, and he must remind his friend the true nature
of his calling, before he acts. There is
more to add with his relationship with Leticia. Medina approaches the role very
methodically, his voice is strong, and he has a grand presence on stage.
Adriana Sevahn
Nichols has some dramatic challenges with the role of Leticia. Leticia is a woman, the head of the household
with no control over her domain. Her
husband is in the basement, the maid runs all over her, she does not recognize the
man who wants to get nearer to her, and she can’t get the simplest of questions
answered. She curious but she is not curious enough to find solutions. She has no children and her husband does not
see her in the same way he once did. Still she manages to hold on to whatever
life she once had. Nichols does some very dramatic work in The Conduct of Life.
Polly Humphreys
is the Olimpia swing but did not perform the night I was there.
Carlos Brown,
Costume Design, gives the impression that we are in 1950’s Cuba and the craft
was scrupulous.
François-Pierre
Couture was responsible for the Set Design, marvelously planned and very
workable for the actors to perform their magic.
Other members of the delightful crew are as follows:
Van White – Fight Choreography
Veronica Vasquez – Stage Manager
Gabe Figueroa – Assistant Director
Gabe Figueroa, Terrence Leung – Associate Producers
Miles Bryant, Ashley Busenlener, Joseph M. Henderson, Julia
Stier and Analia Tamariz – Producing Fellows & Interns
Run! Run! Run! And
take someone who loves to outline the psyche of human actions.
So honored! Thank you for coming out to see our young company's work! Thank you, thank you!
ReplyDeleteYou're welcome. I am now a big fan of your work and Hero Theatre!
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