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| Ruth Livier and Yalitza “Yaya” Vasquez-Lopez Photos by Grettel Cortes Photography |
By Joe Straw
Majestically, Tía Carmen (Yalitza “Yaya” Vasquez-Lopez) mysteriously enters wearing a huge black embroidered gown into the home of Amalia Morales (Ruth Livier) playing a song on a violin, something remembered between the two. They were as close as sisters, her tía now gone, drowned, pulled down by the weight of her gown into the murky waters, and now, from a different dimension, she plays the violin while trying to wake Amalia out of her mental slumber.
Much like a fog Amalia is now in, beset by a list of unimaginable mental setbacks, a clouded tapestry hides her until Tía Carmen pulls the tapestry revealing Amalia’s life, although relatively young, she is not well, but she feels her tía is there and constantly calls for her.
Latino Theater Company presents American Mariachi by José Cruz Gonzalez and directed by José Luis Valenzuela through June 9th, 2024.
Lucha (Elia Saldana) Amalia’s caring daughter, folding laundry, speaks to Amalia to let her know that she is beside her, speaking continuously hoping for some sign of enlightenment.
Boli (Esperanza América) Lucha’s cousin drops by with news that she has been fired and might have to go back to the cannery but not before expressing greetings to her Tía Amalia.
Federico (Sal Lopez) Lucha’s father is dressed to the tees in his mariachi wardrobe telling Lucha that he has a job and to stay home and watch after her mother. Lucha says she has a final examen in nursing school and she must go but Federico will have none of it especially after discovering Amalia’s sweater that has been scorched by the flame from the stove.
Boli tells Lucha that she will stay and look after Amalia while she is out. In the meantime, while Federico is in another room they put on a song, Amalia’s favorite record, and Amalia seems to come out of her fog before Federico takes the record off the player, a struggle takes place, and the one-of-a-kind record is broken. One more mental setback.
This is a defining moment in this play beautifully written by José Cruz González that truly sets American Mariachi on its lovely course. American Mariachi is not quite a musical, not quite a drama, and not quite a comedy but the play has all the elements of each.
Wonderfully directed by José Luis Valenzuela with a vary ‘70s sparce setting by Maureen Weiss, Scenic Design and most things are symbolic.
The seats on this night were filled to near capacity and judging by the standing ovation everyone enjoyed the night. Certainly, there was plenty of singing with beautiful and exceptional voices helped by John Zalewski’s wonderful sound design that captured the sounds of this spectacular play. A lot of work went in the presentation of the mariachis and the forming of a new girl mariachi band and all of it sounded spectacular.
There is no credit for casting director for this show in the program, but it is one of the finest casts ever at LATC.
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| Elia Saldana, Sal López, Ruth Livier, Esperanza América and Geoffrey Rivas |
Esperanza América is terrific as Boli although one is not a big fan of expressing to the fourth wall which creates very little truth for moments that should matter. Still, she’s funny and has a great singing voice.
Vaneza Mari Calderón is wonderful as Gabby taking the small moments and creating a visual feast of mischievous expressions on stage. A Latina singer not knowing a speck of Spanish makes up Spanish words as she sings along. She is very funny and leaves an indelible impression.
Alicia Coca is Isabel Campos a married woman who worries about what her husband will think about her performing in a mariachi band. So, she does it on the sly telling her husband she is singing in the church choir. Little does he know that she’s been thrown out because of a dispute with the choir director. Coca has a beautiful voice and plays a tasty trumpet near the end.
Fidel Gomez is all over the stage playing multiple characters and all the characters were very different. Gomez is hardly recognizable with his back to the audience, or he is wearing some outlandish costume, or behind some equally outlandish shades, and he is very funny. Gomez also has a wonderful singing voice and sings to perfection.
Crissy Guerrero plays a sassy saucy hairdresser Soyla Reyna, and her voice was just wonderful. She also is terrific in multiple roles Sister Manuela, Party Guest, and Female Holy Roller Singer.
Ruth Livier is Amalia Morales in a difficult role of someone losing her ability to think and reason. She strikes out in anger against her husband for which we find some reasoning near the end of the play. Without giving too much away, there is a lot of angst concerning the broken violin that now triggers certain emotions and cause her to lash out in a violent manner. There may be other ways to express a sense of true loss during the play. Livier also plays Doña Lola a woman who lives to be creative in her space. Livier takes the opposite of Amalia and gives full life to the character of Doña. Livier is a wonderful singer, a marvelous actor, and has a beautiful voice.
It's difficult to embrace the feelings Sal Lopez has as Federico, a moral discontent that stretches beyond the bounds of love and with obdurate feelings with his family life. This Mexican machismo thing we hear about, Federico tries to control everything, his unstable wife, his grown daughter, shutting himself off from his once best friend all in the name of jealousy, or of a suspicion of adultery. Is this the way to live a life? Curiosity seems to be a better choice rather than recriminations. There are only a couple of moments of sincere love for his wife, his daughter, his niece, and even his other mariachi friends. And this negative patriarchal view seems to take over the play at times putting a damper on all things fun and creative in this new world. What makes Federico change his mind at the end?
Geoffrey Rivas is outstanding as Mino Ávila especially when it comes to educating his female students about being a mariachi. The scene is possibly the backbone of the play. Mino is a mysterious character that is motivated by his heart after first refusing to help. Why he does a 180-degree turn is a matter of speculation but gives the actor many creative choices. Love, sincerity, and the willingness to build something all play an important part in this character.
Elia Saldana also does well as Lucha Morales a woman who aspires great things in her life before deciding to become a mariachi. But suddenly she is caught up in the moment that she believes will save her mother. It moves her to accomplishing her objective to become a mariachi and finding the people that will ultimately help her and her mother.
Yalitza “Yaya” Vasquez-Lopez as Tía Carmen elevates the play with her beautiful voice and the wonderful sounds of her violin. She is mysterious and brings a mysticism to the role.
If you would like to see the play, based on the above, don’t read any further.
American Mariachi has the capacity to move to bigger venues. It’s played in larger houses: The Goodman Theatre, The Alley, Pacific Conservatory for the Performing Arts, and The Old Globe and one can see why. It is delightful and certainly a crowd pleaser. But the move to an even larger house would require minor changes to elevate that move into a full-blown musical.
The broken violin has a huge role in this play, but it seems to be an afterthought in this production. The broken violin represents Amalia’s dashed hopes. It is the symbol of love lost and when it is brought back home every character should rejoice because it represents moving forward for all. It is the homecoming scene in everything you’ve ever seen that made you love and cry all over again and all at the same time.
During the show, one is left with discovering the make-up of the relationships and if those relationship rang a sincere truth. Best friends gone awry, ghost and niece of a ghost and how that might be better played out. Some relationships are less defined in the initial meeting. With the help of dialogue, one gathers that information. Still, the relationships are somewhat solidified the moment they appear in flashback and after that those emotions don’t go far enough to convince us of their feelings in present time.
Musical Direction and Original Musical Arrangements by Cynthia Reifler Flores was just wonderful and the Mariachis/Ensemble of Luis Bernal, Manhe Martínez, Oscar Rivas, Joseph Ruvalcava, Juan Miguel Sossa Ropain filled the night with incredible musical numbers.
Other members of the crew are as follows:
Maria Catarina Copelli – Costume Design
Pablo Santiago – Lighting Design
Urbanie Lucero – Choreographer/Movement Coordinator
Alexa Wolfe – Stage Manager
Martha Espinoza – Assistant Stage Manager
May Fei – Production Manager
Manee Leija – Costume Design Assistant
Zoya Naqvi – Scenic Assistant
Jeremy Crews – Scenic Assistant
Maribel Chavez – Wig Stylist
Lauren Grace Parra – Wig Stylist
Kim Gomez – Stitcher
The Los Angeles Theatre Center
514 S. Spring Street
Los Angeles, CA 90013
Patron Services: 213.542.7331
tickets@thelatc.org
Administrative Office: 213.489.0994
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