Queen of the Rumba by Josefina Lopez

 

By Joe Straw

 

One has never seen an audience that has been so engaged in a performance of Queen of the Rumba on Saturday September 30, 2023, clapping after every scene, vocal in other scenes, and engaged throughout the night.  Yes, it was a different kind of audience that filled the seats of Casa 0101 on this night.

 

Casa 0101 Theatre presents the world premiere of Queen of the Rumba by Josefina Lopez, directed, and choreographed by Corky Dominguez, and produced by Emmanuel Deleague though October 22, 2023.

 

Age never gives anyone a chance.  You’re bound to be taken by any number of infirmities or accidents if the night doesn’t get you sleeping peacefully. Tonight is not Alicia Parla’s (Paloma Morales) night in this Miami Hospital.  Doctor Sanchez (Sammy Montero) peacefully breaks the news that she has only a short time to live. But Alicia isn’t worried.  She’s 83 years old and takes the news with a peaceful resolve knowing that she has seen and experienced the world.

 

But how much of the world could she have experienced?  

 

Tucked in at night in her hospital bed without medication Alicia hears the cries of a young cancer patient Sofia Manzano (Kenia Romero).  Bothered by her incessant wailing, Alicia promises her that she will tell her the story of her life.  

 

And so, the story begins with the beginning of Young Alicia Parla (Angel Juarez) in school uniform being kicked out of her third Catholic School.  As the family sits down to dinner Alicia’s father Alfonso Parla (Adam Jacobo) contemplates the decision he must make about his daughter’s disruptive actions.  

 

The dinner table is never a good idea to discuss the bad things happening in your life and Carmela Parla (Victoria Tamez) Alicia’s sister can only bow her head to shut off that world and listen to her own private thoughts.

 

 

And Alicia is hardly listening to her father or mother Goretti Parla (Lolita Lazcano) at this point only noticing the servant Rosita Vega (Vivian Marie Lamolli) ladling the contents of her spoon into her bowl in a style and manner that is both mystifying and sensual in manner.

 

Because Alicia has been kicked out of school, her father has decided that she should go to a trade school with her mother to the United States. Later, feeling despondent and wandering behind the house Alicia spies upon Rosita and her friend Moon (Melvin Ward) dancing, rather seductively, before going back into her room to dream about her future endeavors.  

 

 

 

Alicia and her mother Goretti moved to the United States and after finishing a trade school in Miami, moves to New York where Alicia went to try out for the new dancer position as Don Justo (Peter Laboy) watched.  No one liked her moves except Don Justo who felt her talent was raw but manageable.

 

 

 

 

Josefina Lopez wrote Queen of the Rumba as a screenplay as part of her master’s program at UCLA and at times it plays as a screenplay missing the elements that move a play through ambiguity, conflict, and resolution.  That happens mostly in the first act, but the adapted play manages to gather momentum in the second act and takes off making it a delightful undertaking. There may be elements missing in the first act mostly the relationship between the older Alicia and Sofia, the conflict that moves that relationship, and the fairy tale like existence of a tale so unbelievable that it magically transports the parties to important places and times. (One is thinking patterned lights, a swirling bed, and a story, majestically told, transporting her back to her younger self.)

 

Corky Dominguez is a reliable director at Casa 0101 but needs to find a consistent way to move the players from one scene to another without the blackouts and the multiple scene changes. That challenge is to find a creative way to move the play along and to keep the audience engaged. (Audiences are very forgiving of time and place in a theatrical space.) For example, why not have The Prince of Wales (Adam Jacobo) engaged in the ideal setting of his hotel room as his fantasy? Fantasy is an idea that may help move the entire production along, young love, naivety, and the idea that anything can be accomplished through youthful idealism. Details are also critical of a different past, a difference between 1998 and 1932, some actors portraying those characters needed that focus not leaving their 2023 characters.   

 

Paloma Morales is charming as the older Alicia Parla and although the character is dying, she has enough energy to power through her tale throughout the night and into the morning. There is little conflict between the storyteller and the listener and little connection between the young Alicia and the older Alicia. Morales appears to go off in improvisation at times and this is apparent when her voice softens to a barely audible level.  

 

Angel Juarez is impressive as the young Alicia especially in the second act where she dances a rumba dance wearing the Cuban Flag. This role has many elements and levels that can be added to an already terrific performance.  More could be made of her naivete, her willingness to go all out to get what she wants, and the emotional conflict of a promise she made to her mother.  

 

Kenia Romero is the other cancer patient.   This a role that requires someone to listen to a story.  That doesn’t give and actor much to do unless the actor applies a little more creativity and has a stronger objective. She is sick, but that doesn’t mean she is not active and there are multiple opportunities for her to move from her seat. What does she get from the story being told to her? And what is the end result from being in that relationship?  

 

Mauricio Marte plays Marcos, a musician, and has an interesting look. But that look and manner is 2023 and not the year 1936. And his manner is subtle where his desire should be anything but.  There is more room for an emotional commitment, the love factor that tugs on his heartstrings. When everything is playing against the character, the character must play for the things that mean the world to him. Don’t keep everything inside, show us a little something more physically and emotionally. 

 

Lolita Lazcano plays the mother Goretti Parla and is excellent in the role. Goretti wants to live vicariously through her ambitious daughter and gives in to her daughter’s wishes only asking her to make a promise to her and it’s a big one. The relationship between Goretti and her husband may need strengthening in the first act deciding what to do with their daughter. Now, their relationship appears to be a repellent indifference rather than anything resembling love.   Still, Lazcano does a great job.

 

Adam Jacobo plays Alfonso Parla, and obdurate father who runs his family like a ruthless hard-fisted businessman. Everything is for him, and the others work to satisfy his life. Still, we’ve got to see the love element in these relationships! Jacobo also does a nice turn as the Prince of Wales.

 

Peter Laboy plays Don Justo, the bandleader, discovered a new talent who does the Rumba. This character needs a little more authority, in the way he is treated as a bandleader, and in the way he controls his players like the wand he possibly carries. This is another character that should embrace the period and act accordingly.  

 

Vivian Marie Lamolli as Rosita has a very nice presence on stage.  She also has a very engaging dance number on stage as well. She has a significant scene that may be a lesson to Alicia. But, at present, that scene is one that doesn’t teach that lesson and it is a significant moment to contributing to Alicia’s way of thinking.   

 

Melvin Ward has some nice numbers as Moon and the Male Dancer and plays the male orderly, mc, and the club owner. In many ways the dancing reflects the time and is perfect in its execution.

 

Sammy Montero does well as Roberto Nelson, needing a little more conflict in the opening sequence as Dr. Sanchez, and he also plays the producer.

 

Maricella Ibarra is Marina, Mother Superior and the Bald Woman in the cancer ward giving the older Alicia character momentum in the story telling.

 

Victoria Tamez plays Carmela Parla the sister who seems to be browbeaten by her father, quailed inwardly, losing her way into any kind of expressive individuality. There is room for more growth and conflict at the dinner table. She also plays the Choreographer, and the Teenage Boy.

 

Abel Alvarado again does exceptional work at the Costume Designer.

 

There are a few more shows. Run! Run!

 

Other members of the crew are as follows: 

 

Itzel Ocampo – Associate Producer, Casa 0101 Administrator

Rigo Tejeda – Stage Manager

César Retana-Holguín – Set Designer

Alejandro Parra – Lighting Designer

James Alonzo – Co-Sound Designer

Miguel Delgado – Technical Director

Izzy Donenberg – Assistant Stage Manager

Julius Bronola – Wardrobe Assistant

Steve Moyer Public Relations – Press Representative 

Edward Padilla - Casting Director/Youth Educator

 

Street parking is free and parking behind city hall is free. 

 Reservations: 323-263-7684

www.casa0101.org

 

 

 

Birds of North America by Anna Ouyang Moench

 

Arye Gross and Jacqueline Misaye - Photos by Jenny Graham

By Joe Straw

 

Life moves on

this migratory lot

abundant

fall colors

winging forward

rustic flavors

and

seared images

capturing the

bitterest contradictions

forever

and

now

What were the talks?

Pieces

of colored information

just pieces

waiting for the wings

of knowledge

to take flight

or not

coaxing intonations

until

the end of the line

and all there

is now is   

raking

up

the

pieces

with a

satisfied

heart.  

 

Migratory birds in flyway pass by John’s yard in Baltimore County, Maryland in the year of someone’s lord - the mid 2000s to the mid 2010s.   And from his backyard with a pair of binoculars John (Arye Gross) happily takes field notes while birding and regards his notebook to his daughter Caitlyn (Jacqueline Misaye) as his life’s list, guaranteed to last forever and to never smudge.

 

Odyssey Theatre Ensemble presents the Los Angeles premiere of Birds of North America written by Anna Ouyang Moench, directed by Peter Richards, and produced by Beth Hogan through November 19, 2023.  

 

John is a busy man, a doctor working on manufacturing pharmaceuticals, but a man who nevertheless unwinds and spends a few precious moments with his daughter.  

 

Caitlyn, with a clement disposition, appears to enjoy her time with her dad but is not so invested in birding, taking notes, or calling a bird by its rightful name, and not announcing the perching place on its specific location so that her father may take delight in discovery.  

 

Although John is slightly annoyed, it is perhaps the moment where he can impart the wisdom of the ages to his daughter should she desire to accept it.   But how does he let the information go knowing now that she has matured enough and is somewhat willing to accept that information? It must be with sincerity and without too much fanfare and noise. Much like the barn owl who stealthy approaches a kill announced only after it has pounced on its prey.

 

Caitlyn has other things on her mind like her motorcycling boyfriend Blaze who wants to go into the army and off to Iraq. John doesn’t agree with her choice of man, he thinks of a better class of man marrying his daughter.

 

They’ve lived a comfortable life. John is working on a prescription drug and has been for twenty-five years.  It is in phase III of the clinical trials and once that is approved will guarantee the family an income for the rest of their lives.

 

Caitlyn is a copy editor hoping to finish a book she has partially written although her heart is not into it.     

 

When they walk into the house and return to the backyard a year has passed. Today, Blaze is a forgotten memory and Caitlyn has another and now seeks $2,000 for her wedding photos. John says to get a family member to take the photographs, but he grudgingly says if she needs it, he will pay for the photos.

 

Is saving their relationship something that will take time or is it too late?

 

Anna Ouyang Moench has written a beautiful play filled with the colors of life.  There is a picturesque sincerity to it all, a father and daughter relationship that test the boundaries of human migratory movement highlighted by the influx of colors and the outside awakenings of a calling North American bird.  There is discomforting intimacy between these two, hardly physically together in their backyard for two seconds, moments broken up by the incursion of a feathered being rustling through the trees and perching on a limb near their backyard.

 

Peter Richards, the director, has done a fantastic job despite some technical problems on this night with sound and music.  There are additional layers that could be added to the performances and that will come in time with additional performances. There may also be another connection one that may be how the birding connects to the relationship of the father to daughter.  Still, it is a quiet night with subtle emotional outpourings and blended noises that disarms the soul and lifts the production to unimaginable heights.  

 

Ayre Gross as John never lets up as the dad. He moves in a way that lets his daughter have free reign, making her decide her own choices with little objections to the paths she may be undertaking.  Similarly, to the way birds treat their fledglings. With his education and life’s experiences, he is the adult in the backyard, calm, effective, and guiding in ways that are not overbearing. Gross’ physical life and subtle emotional outbursts makes this a master performance and one that should not be missed.

 

L- R Arye Gross (background) and Jacqueline Misaye

 

 

Jacqueline Misaye plays Caitlyn a woman who appears to have her father’s temperament and her reactions are very subtle. Caitlyn places herself in an invidious position with news of her life, her boyfriends, and her medical issues.  It is easy to suggest what her father might want, mostly trips to places where he can observe birds, but is it not clear what she wants from him. One might suggest that it is love mostly but she can’t quite figure out how to do that.  If there is one thing missing it might be that.  He never really comes out and expresses his love, physically or emotionally and that is what she must get. The book at the end may be the key but the emotional expression is something we may need to see. Still, it is a terrific performance.

 

Mark Guirguis, Set Designer, has created a beautiful set.  Wind may be something that elevates the set to another height. Still, it is a gorgeous set for the actors to live and breathe.

 

Constandia J. Daros, Sound Designer, has brought in some wonderful sounds to fill the backyard with native birds of the Baltimore area. The sound has birds moving from one side of the backyard to the other and it is wonderful to hear.

 

Lena Sands is the Costume Designer, and she places them in costume and in the times. The work is excellent and changes each year in a ten-year period that passes by when the characters come back every year to watch the birds in their migratory flight.

 

Other members of the crew are as follows:

 

Scott Bolman – Lighting Designer

Jenine MacDonald – Prop Designer

Beth Mack – Stage Manager

 

Run! Run! Run!

 

Reservations: 310-477-2055 or go the www.OdysseyTheatre.com

 

Parking is free!