Hamlet by William Shakespeare

Michael Benz as Hamlet

By Joe Straw

Two women, wearing black, were having a great time at the theatre the night I went.  They were sitting in front of me and every time there was a recognizable quote from Hamlet they turned toward each other, smiled, and nodded affirmatively.  And then they directed their attention back toward the stage and continued their observation of the performance. -  The Narrator.

The Broad Stage is a very nice place to go.  There is always free parking without arriving too early.  The atmosphere is always friendly and everyone at the door greets you like a long lost friend.   

KCRW presents Hamlet by William Shakespeare and directed by Bill Buckhurst.  Shakespeare’s Globe Theatre is back in town doing what they do best.  Tonight I was fortunate to be invited back to The Eli and Edythe Broad Stage to witness the performance.

Oddly enough, the set, Designed by Jonathan Fensom, was similar to The Comedy of Errors set, I had seen last year.  It was slightly different but the same shell of a space.  

Paul Russell, Lighting Designer, decided to keep the house lights up during the performance, for reasons unknown to me.  The actors, in this light, arrive on set in character, jovial, and in pursuit of a lighthearted objective.  They prepare themselves by adding wardrobe accouterments enhancing the finishing touches of their costumes also designed by Jonathan Fensom.  

When the last belt was tightened, and the last boot strapped, the actors grabbed an instrument and played away at a 17^th Century English traditional song “A Begging I Will Go.” A diapason sound fit the occasion and certainly it is a song for pugnacious actors.  Notwithstanding “Begging” is a lighthearted number that introduces us to the play, Hamlet.  And it worked quite nicely, a very light touch of an introduction, for a play that we all know ends in a horrific bloodbath.  

The play starts with a whisper, an underscore of things that happen late in the night.  Two guards Marcellus (Peter Bray) and Bernardo (Matthew Romain) wait for the moments when an eidolon, the dead King Hamlet’s apparition, appears around the guarded walls of the castle at Elsinore.

Frightened, and chilled from the cold night air, the two are not willing to hold their tongue and so Marcellus and Bernardo tell Horatio (Tom Lawrence) of the sights they have repeatedly seen on a series of nights.  And just when they are telling the tale, the apparition appears stalking through the castle walls.  They cry out to the ghost but the ghost ignores them as he passes from room to room.  Horatio believes the ghost will only talk to Hamlet and runs to tell Hamlet the news.

Meanwhile, the iniquitous Claudius (Dickson Tyrrell) is now the new king.  He is espoused to Hamlet’s mother, Gertrude (Miranda Foster), in a hastily arranged marriage not two months after the sudden and unexpected demise of his brother, King Hamlet (Dickson Tyrrell).   

Hamlet (Michael Benz), the son, laments the passing of this father.  Claudius, happy to occupy the throne, wastes no time evaluating Hamlet’s imponderable mourning.    

“But you must know, your father lost a father;

That father lost, lost his, …

…but to persever

In obstinate condolement is a course

Of impious stubbornness; ‘ tis unmanly grief;”  - King

With his manhood questioned Hamlet feels he must bide his time but he is not too happy about the outcome.  

“With such dexterity to incestuous sheets!

It is not nor it cannot come to good;

But break, my heart; for I must hold my tongue.” - Hamlet

Claudius must not feel he is king.  Certainly his ill-fitting wardrobe does not give him a regal appearance and he lacks the backbone and fortitude to stand up to his enemies, known or unknown.  He worries about the invasion of the Norwegian crown prince Fortinbras and hastily sends his ambassadors to stop the invasion.

Horatio anxiously tells Hamlet he has seen his father, has seen his face, knows it is he, and invites Hamlet up to the guard post at night to see the vision they have all experienced.   

Meanwhile Polonius (Christopher Saul), lord chamberlain, has a broken heart.  His children have grown, and with time running out, Polonius imparts his wisdom to his son Laertes (Matthew Romain) before Laertes leaves for France. And after this impassioned farewell Polonius turns his sight on Ophelia (Carlyss Peer) and warns his daughter Ophelia that she must be cautious with Hamlet.

“Be somewhat scanter of your maiden presence;

Set your entreatments at a higher rate

Than a command to parley.” – Polonius

Hamlet’s hamartia is his youth as he rushes to the guard post to see his father. Hamlet, incurious, when he arrives, speaks with Horatio and Marcellus.  Suddenly the ghost appears and beckons Hamlet to follow him.  Horatio and Marcellus tremble at the repercussions and hold Hamlet until he breaks free.

“Something is rotten in the state of Denmark.” - Marcellus

The ghost leads him to another part of the castle with Hamlet pleading for him to speak only to find that it is not his father. (I am not your father.)

“I am thy father’s spirit,

Doom’d for a certain term to walk the night,” – Ghost

(Okay, a technicality.)

The ghost tells Hamlet that he is doomed because of what he did in his life. (Just when you thought he was the good king!)  The ghost imparts his wisdom of the afterlife without going into specifics, which is all humorously articulated in the telling.  

And then the ghost tells Hamlet he was murdered by his brother Claudius and gives his the details of his murder.  He seeks his son to revenge his death.  

“Revenge his foul and most unnatural murder.” – Ghost

Not wanting to leave Hamlet without fond remembrances the ghost embraces Hamlet with an unnatural love, and speaks.

“Adieu, adieu!  Hamlet, remember me.” - Ghost

This is the moment Hamlet makes up his mind about his uncle and his mother.

“O most pernicious woman!

O villain, villain, smiling, damned villain!

…So, uncle, there you are.  Now to my word;

It is ‘Adieu, adieu!  Remember me.’

I have sworn’t “ - Hamlet

Hamlet makes a decision after he has secured the truth. Revenge is a seed planted in fertile ground.  And Hamlet has that seedling sprouting many evil machinations.  It will never end until the end is finished and done with ‘til the last line is spoken and the last breath is taken. There is no turning back once you have sworn to it.

“O, that this too too solid flesh would melt,” – Hamlet

“He was a man, take him for all in all,

I shall not look upon his like again.” – Hamlet

Hamlet asks his friends to swear they will never mention what they have seen this night.

“Never to speak of this that you have seen,

Swear by my sword.” – Hamlet

And repeatedly the ghost asks them to swear.

“Swear!” – Ghost

Repeatedly.

“Swear!” – Ghost

So aggravated by the ghost, Hamlet moves from place to place to avoid his constant verbal barrage until he has had enough.  

“Rest, rest, perturbed spirit!” – Hamlet 

Later Polonius wants Reynaldo to go to Paris, find out what Danes are there, and more or less to check up on his son, Laertes.  

Ophelia enters and tells Polonius that Hamlet is acting very peculiar and Polonius goes to the Queen to speak to her on Hamlet’s condition.

The whispers continue around the castle as the King and Queen have summoned Rosencrantz (Peter Bray) and Guildenstern (Matthew Romain), Hamlet friends, to enlist their help in discovering Hamlet’s ailment and strange behaviors.   

“… and now remains

That we find out the cause of this effect,

Or rather say, the cause of the defect,

For this effect defective come by cause:

Thus it remains, and the remainder thus,” – Polonius to Queen

A befuddled Polonius tells the King and Queen that he will speak to Hamlet.  Hamlet, at this point, seems off his rocker. Polonius thinks, “he is far gone, far gone”.

Moments later, and sane again, Hamlets happily greets his childhood friends but with reservations. He asks Rosencratz and Guildenstern what is their purpose at Elsinore.  The sycophants feign innocence but then tell Hamlet they were sent for.  So they are, in fact, spies and it doesn’t take Hamlet long to catch on despite what Rosencrantz tells him.

“My lord, there was not such stuff in my thoughts.” – Rosencrantz to Hamlet

Hamlet has started the execution of his play with the actors arriving.  A casting session begins with Hamlet praising the actors, wanting to hear their recent works. Polonius is there to assist in the casting and after the auditions are complete Hamlet sends him off with the rest of the actors.  But, in the meantime, Hamlet grabs the first player (Dickson Tyrrell) and secretly tells him that he will have more for him to act.

“could for a need, study speech of some dozen

or sixteen lines, which I would set down and

insert in’t, could you not?” – Hamlet to First Player

Hamlet dismisses his actors and laments about what he about to do in front of the King and Queen.

“O, what a rogue and peasant slave am I” – Hamlet

…Remorseless, treacherous, lecherous, kindless villain!

O, vengeance!

Why, what as ass am I?” – Hamlet

Hamlet performs the play to observe the looks of the King, to see if the play speaks hard to the truth.  The moment of truth sends a dagger swiftly into the conscious heart of a traitorous king.

There are a lot of marvelous moments in Bill Buckhurst’s version of Hamlet. Everyone has his or her own ideas of how this play should be played and I admired Buckhurst take.  It is fun and too marvelous for words.  The play within a play works to perfection and the discovery of the King and Queen’s expression after the revelation was brilliant.  

There are nearly thirty characters in this play but we get a scaled down version of eight playing a variety of roles and succeeding marvelously.

Michael Benz plays Hamlet.  Young and energetic Benz flies from place to place to capture the spirit of the role.  As the character this Hamlet was soft, not intellectual in the ways that maturity would make him.  And because of his youth, Hamlet seems to accept all information as truth, there was not a point where there was disbelief, wanting more information, and then deciding that his father was indeed waiting for him. He recklessly takes arms against of sea of trouble without thinking through the consequences.  And his actions are fraught with mistakes and without remorse, which leads him to his tragic fate. And, where is the quintessential moment that drives him over the edge in his pursuit?  Is it because the ghost tells him so?  Benz has an interesting characterization of the role.  As the prince the relationship between royalties and other member of his entourage was not distinct, not specific.  Hamlet’s relationship with his ghostly father – King v Prince, or father v son (slightly different).  He treats them without a royal regard, which I found interesting.  What does it mean when a mortal confronts ghost that is his father?  This can’t be an everyday occurrence even for the Prince Hamlet. Could it possibly be that he thinks he is the rightful heir to the throne?  He must think so.  He kills Polonius with little regard, (opps) and throws a curtain on him with very little affection.  This prince was ill suited for the throne, possibly something lacking in his character to wear the crown. And if his objective were to be the King, he would have been a bad one because he gets lost in the details of his revenge.

Christopher Saul was marvelous as Polonius. His art and craft was impeccable.  Not a wasted movement and specific in his objective.  It is so much fun to watch an actor with this kind of talent, watching each role filled with so much life. This is certainly an inspired performance and one not to miss. Saul also played Francisco, Player, First Gravedigger and the Priest and excelled at all.  

Dickson Tyrrell played Claudius, the King. As Claudius he seems ill suited to have the crown. Nothing fits. The clothes he wears, the decisions he makes.  His actions are precautionary rather than decisive and affirmative. And he sure is sneaky! Tyrrell is wonderfully offbeat in this characterization of Claudius. He also plays Ghost, First Player, and the Player King.

Carlyss Peer plays Ophelia.  There was something chilling about her, her relationship with her brother, and her deep admiration in a man who seemed devilish at times. Finding a way through that relationship, tugged on her mental and physical securities. She battles with her father and brother that tells her she is not good enough for Hamlet. (It’s no wonder this woman in love is mentally unstable.)  Ophelia’s appearance indicates that she was not internally affected by the events around her. And yet, she takes chances with her life, purposefully falling into the water and floats downstream in a simple act of suicide.  And as quiet as that event may have been, she waits for the inevitable events of gravity to drag her down to the murky bottom.  Peer also plays Voltemand. Wonderful job!

Miranda Foster plays Gertrude, the Queen. As the character she believes she has no choice but to let the men in her life change the course of her life.  But Gertrude has strength.  After all she was the Queen at one time.  Hard times have befallen her but she has the ability to rise to the occasions and not be so darn weak. Natheless, it was a very fine performance.

Tom Lawrence was quite marvelous as Horatio.  He is in touch with his instrument and was at ease on stage.  As Horatio he has a gentle smile and a way that would convince us that he is Hamlet’s trusted friend. He is there for the Hamlet’s bitter end and requested, by Hamlet, not to drink the poison but to tell the story.  Lawrence plays Reynaldo and Captain as well. And we are all better for it. Nice job!

Peter Bray plays Rosencrantz, Marcellus, Osric, and Prince Fortinbras all with impish dexterity, a slight smile, and a flit of the wrist.  Bray has a commanding presence and does a magnificent job.

Matthew Romain plays Laertes, Bernardo, Guildenstern, and Lucianus. Laertes is a strong character that did not learn from his father.  Actually, he has questionable characteristics.  At least his father believes so.  He flies off the handle without examining and blames Hamlet for the death of his father and his sister.  Romain played Laertes with honor, with a backbone, and with the belief that he must stand for the honor of his father and his sister. With his head held high he rolled with honor to defend the only life he has known.

Other members of this fine cast and crew are:

Dominic Dromgoole – artistic director, director

Tom Bird and Sacha Milroy – executive producers

Laura Forrest-Hay – original score

Bill Barclay – composer and arranger

Sian Williams – choreographer

Kevin McCurdy – fight director

Giles Block – Globe associate – text

Glynn MacDonald – globe associate – movement

Martin McKellan – voice and dialect

Alison Convey – assistant director

Chloe Stephens – assistant choreographer

Ng Choon Ping – assistant choreographer

Paul Russell and Dave McEvoy – production managers

Wills – technical manager

Marion Marrs – company manager

2Luck Concepts, Eleanor Oldham & John Luckacovic – USA general management

Claire Godden, Shakespeare’s Globe Theatre, UK general management

Support for Shakespeare at The Broad is generously provided by Linda and Michael Keston.

Through November 25, 2012

Run!  Take a friend named Yorick.  You will both laugh the night away.

Seed: A Weird Act of Faith by Sigrid Gilmer

by Joe Straw

Norman Ernest Borlaug (March 25, 1914 – September 12, 2009) is credited with saving a billion lives across the world.  He received his Ph.D. in plant pathology and genetics from the University of Minnesota in 1942.  He also received the Nobel Peace Prize in 1970 for his contribution to the world food supply.  - Narrator

Pete Wilson was my band teacher at New Providence Jr. High School.   His groomed pencil thin mustache was as wide as the baton he angrily banged against a metal music stand saying:  “This band is only as good as your worst player”.  I disagree, I believe you are at your best, when working as part of a team, and you are inspired to rise to the level of your best player.  

Seed:  A Weird Act of Faith by Sigrid Gilmer and directed by Shishir Kurup is being presented by the Cornerstone Theater Company at the Chuco’s Justice Center, 1137 E. Redondo Blvd. Inglewood, CA  90302.

When one ventures to see the Cornerstone Theatre Company, one has to take into consideration that all the actors are not all professionals.  Some actors are hired from the community and those actors are intersperced among more experienced actors.  This is a very good way to introduce the world of acting to a diverse community.

So, someone venturing into this world of theatre must consider the range of experience when seeing a Cornerstone theatrical production. (Cafe Vida was exceptional!) Avid theatergoers may have trepidations, but those see value to helping themselves to a bit of social consciousness may appreciate all Cornerstone has to offer. Sometimes it works other times not so effective.  And I’ll get to that not so effective, later.

The play starts with the cock crowing, somewhere in South Los Angeles, the sun coming out and store owners, Mom (Maria Cano) and Pop (LA Hopi) opening up their store and getting ready for the day. Pop kisses Mom and leaves for places unknown and then re-appears at the end of the day.

There are video footages throughout this play starting when the “History of Agriculture” is projected on a screen and we learn about this history through the story of the hunters and the gatherers.  They are cute little people carrying spears and wearing animal loins.  When the hunters run out of food, the gatherers find something they all can eat. They call the food “whatever”. (Weird.) They also find the food grows again in the places where they have gone to the bathroom.  They gain knowledge of what is growing all around them.

Present day South Los Angeles is now a food desert and two “Gods” E. (Gilbert Molina) and Xochi (Thabisile Griggin) bet against one other that this land cannot be cultivated into food. Xochi will destroy the world on December 21, 2012 (rings a bell for Mayan calendar end-of-the-world enthusiasts) if this barren land cannot be converted. E. is a little more optimistic about the inhabitants of South Los Angeles.

Well, as faith would have it, various people come to work the land and make food and without knowing it, try to destroy the plans of the evil God, Xochi. Farmer (Lorinda Hawkins) lies in her soil after having a “Dear Jane” post-it note stuck to her large growing broccoli, Broc (Joel Jimenez).  A little more weirdness!

Meanwhile Xochi is busy helping herself to the “Spicy Bobs” (a spicy Cheetos like substance) and getting larger each time she reappears.

Keisha (Adanna Kenlow) and Desmond Styles (Flores) meet, under the moon, on virgin soil knowing their act will create good soil for their crops.  

Across the globe, somewhere in Iraq, an Iraqi man hiding is carrying seeds in his hands.   He tells the American soldier (Martin Lemus, Jr.) to keep the seeds.

Naturally, CEO (Marcenus “MC” Earl), head of Monsanto-like Dillagraf, is busy producing talking points on chemically biogenetic engineered foods. He speaks about industrial agriculture that won’t taste any better but will feed the hungry masses.  (Just what we need!)  

Keisha says she wants to grow her own and she wants it to be organic. She wants to feed great tasting food to those who need it.

Meanwhile the Gods reappear and want to keep an eye on these growers.  And they do this by posing as students filming a documentary.  

Lorinda Hawkins plays farmer. She is an extraordinary actress with a remarkable voice.  She can only wallow in her garden hoping she is doing the right thing. She is degraded and demoralized by finding the post-it note on her broccoli, still she knows what she is doing is for the greater good.

Joel Jimenez plays Broc.  And I know it’s tough establishing a relationship with anyone when you’re a plant growing in the field, but it is a job that must be realized. I enjoyed Jimenez’s performance and I always thought a broccoli character as being sarcastic in thought as was delightfully portrayed.  

Obi Ndefo was outstanding as Don Henry, a spiritual leader of the group.  He is one who sees the future but cannot articulate it.  His relationship with the Gods should have more depth, since he is the one with the vision.  He is the sententious puppet trying to find a way to make his mark in the group. His characters were all wonderfully thought out and a joy to watch.

Desmond Styles as Flores also did a very nice job and has a very good look for other forms of media as well.

Adanna Kenlow as Keisha was very funny and was someone who knows her craft.  

Marcenus “MC” Earl as the CEO also did a very nice job in his role in his honest portrayal of a man who works for a devious food corporation.   

Other members of the cast are Mario Cano, Jennifer Garcia, Thabisile Griffin, René Günter, LA Hopi, Martin Lemus Jr., Bianca Molina, Gilbert Molina, Dyane Pascall, Lupita Salazar, Neelam Sharma, and David Weinstein was an understudy.

Farms are like relationships; it takes a lot of work to keep them moving in the right direction.  And the craft of acting is the same, a lot of hard work, to keep the career moving in the right course. But actors work at their craft for satisfaction and the chance for paying jobs.  They should also have their photographs in the program (if economically feasible) and especially have their character’s name beside their name. The actors play for the opportunity to be seen and they should be afforded the recognition.

There are some really wonderful moments in Sigrid Gilmer’s play but overall the play seemed like a work-in-progress, an inchoate idea still in development.  Some characters are multi-dimensional, other not.  The lives of the characters did not connect, was not cohesive, and did not move the action to the denouement.   Their lives were separate entities, living an existence, within their inner circle, rarely having a change in relationships, and rarely bonding with others with the same goal in mind. Some are articulate with mics, others not so articulate even with the mics. The Farmer has little or no relationship with Broc even though he is the biggest weirdest singing thing in her garden. Seed is probably the best title of this play.  Take the “Weird” out of the title because even though it is odd, it’s best not to let the audience in on this little secret.  Let the message come out in the play, this is a show where things needs to be discovered.

Shirshir Kurup, the director, has a lot going on in this production and it is possibly too much to keep focus of the play.  There are obese puppets, video, singing broccoli, and dancing and nothing leads us to that moment that captures what this production is trying to say. There is a time element involved as well but we never see the characters fighting against the clock, or aware of the clock for that matter. We saw plenty of fake dirt, but hardly anything grows on stage.  There are rows and rows of food growing on a still photo, but they never get past the baby stage and we never get a sense that they grew any food at all. Also, there were a lot of risers on stage accomplishing little. Every scene change had little or no focus and we could have done without 90% of those risers.  Lots of artificial dirt on stage, smoke for no reason (odd but the smoke smelled like my cafe mocha in the morning). Most actors were wearing mics; instead the money could have been better spent giving voice lessons to those actors that needed it.  Also the mics were not seen in the videos and while it was an interesting idea, really didn’t work.  

www.cornerstonetheater.org

I'm not picking on Cornerstone here but a little symbolism goes a long way.  Get rid of the mics, the videos, the risers, and concentrate on the story and the acting.

The other member of the crew were:

Frederica Nascimento – Scenic Desing

Raquel M. Barrento - Costume Design

Lonnie Rafael Alcaraz – Lighting Design

Colbert Davis – Sound Design

Tom Ontiveros – Projection Design

Lynn Jeffries – Puppet Design (Nice work!)

Sean T. Cawelti – Props Design

Nikki Hyde – Stage Manager

Melody Kanschat – Executive Producer

Jon Neustadter, Margaret Leong Checca – Producers

Go.  Take someone who likes to plant food and watch things grow.

Empanada for a Dream by Juan Francisco Villa

By Joe Straw

There are twenty pieces of candy in a bag of M & M peanut candies. And a noisy bag at that!   The slightest touch of the bag in a theatre has a deafening sound.  Even if you roll the peanuts out of the bag onto your soft palm it’s noisy. But on this night, this guy, with an insatiable appetite, sitting in the front row, was struggling with his fingers, opening it, pulling out one – M - & - M - at – a – time, popping it into his mouth, and making a terrible racket.  I cannot tell you what I wanted to do with that bag but this being a family blog… well, it’s actually a theatre blog.  There are nights I dream of a quiet theatre.  – The narrator.

The Latino Theater Theatre Company presents Empanada For A Dream, written and performed by Juan Francisco Villa, and directed by Alex Levy, now playing at the Los Angeles Theatre Company. 

Juan Francisco Villa plays himself and other characters in this autobiographical show of friends and family struggling to survive in America. His family emigrated from Colombia, South America and end up living on Allen Street on the Lower East Side, in the middle of a Puerto Rican neighborhood, in New York City.

Juan Francisco Villa, 32, sits alone in a run down tenement building.  His walls are paper thin and grey with long scratches of light coming through on all sides.  His head is down, thinking about God.  There is just a sliver of morning light awakening his senses.  He contemplates the idea of his mortality and reaching the age of thirty-three.

“Dios will punish you.” – Juan

In the darkness, Juan tells us his nightmares are getting worse.

Now, Juan is back home.  It is not clear whether he came back for emotional or practical reasons, or maybe it’s for his thirty-second birthday. Clearly Juan didn’t want to be back in his family’s apartment in New York City. But, there he is, back to his Colombian roots, coming to terms with his family, his life, and his economic realities.  

And it is here, in the tiny apartment, where the smell of empanadas reawakens Juan’s memory of the past.  

The memory of the day begins in the early morning hours when the Colombian women in the family are gather, each with specific duties, to cook all day long “Colombian style”. If there is one memory, the best memory of Juan’s childhood, it is that his mom cooked the best empanadas in the world. And everyone is happy, the music is blaring, and they happily eat all day long.

“When I wake up, I dream to see thirty-three.” – Juan

And so, Juan takes us back to his earlier birthday, and to a Colombian tradition and happiness of having someone break a raw egg on your head for your birthday. 

“Eat what I cook.  Don’t eat like a Puerto Rican.” – Juan’s mom to Juan

His mother was the first to immigrate to the United States in 1981, where she met a man, married him and moved to 169 Allen Street, 6^th Floor, in New York City.  They all slept in one bed. That relationship didn’t last and Juan’s mom left his dad and moved to the third floor.

Their gay neighbor Ricky stops by to chat.  He seems to think young Juanito is swinging to his side of the fence.  Ricky is very opinionated about everything and everyone.

“Don’t tell your mom.  God will punish you.” – Ricky

Juan confesses that his uncle introduced coke into the neighborhood and that introduction “murdered lots of people”. 

“Big Charlie O.D.ed on coke.” – Juan

Burly Tio Alvaro “was like a father to me”. He was good to Juan and promised him everything on his 11^th birthday. He said he would take Juan anywhere he wanted to go on his day.

“I want McDonalds!” - Juan

So Juan, his mother, and Tio went over to McDonald on 1^st Avenue and Sixth Street and Juan ordered 4 cheeseburgers.

“With no rice thingies on them.” – Juan

“Four cheeseburgers with no rice thingies on them.” – Tio Alvaro

After Juan wolfed them down.  He ordered four more.  And after he ate them, he ordered four more!

“Don’t buy more.  He’s going to be sick!” – Mom

Forty minutes later, Juan is in pain.

“Mami?” – Juan

Juan’s mother laughs at him but she concocts a potion that will cure his stomachache.  And with that concoction, Juan falls asleep to visions, of his sister, and other members of the family and community.

Juan tells us of friends and family members who were murdered, money changing hands, and of crimes of passions. Particularly of Tio Chepe, who was not involved in drugs and used to hang out with Juan, then got involved with a Colombia woman who was connected to drugs. The drug-dealer friends of his woman hurt Tio Chepe. His other uncles Tio Alvaro was arrested, and Tio Luis was arrested and spent 17 years in prison.

“I miss my father.  I miss my murdered Tios.” – Juan

Juan Francisco Villa is fantastic as himself and has astonishing characterizations of the other members of his family and neighborhood.  His movements on stage are remarkable and he is a mass of soaking flesh at the end of the performance.

But why is Juan telling us the story? Why is he back in the apartment?  What is his objective?  To seek revenge? To live beyond the age of 32? To redeem his family’s name? Why does the narration go back and forth in time?

I watched his marvelous performance, yet I was left with questions at the end.  For example, his mother holds the left side of her body close to her body, and her left arm and left leg do not work but we’re not really sure the reasons for her afflictions. The neighborhood guy who welcomes him back to the neighborhood is bent at the waist and we can only conclude that drugs did this to him.  Uncles come and go never living past the age of 32 but how does that affect Juan who is becoming thirty-two?

Sometimes we are left with dialogue that seems more like a poetry slam than a man pursuing his dream with a clear objective.   We know he left the city.  He was in Syracuse for 7 years and Chicago for 7 years but we don’t know anything about how he got out of the city, what he accomplished, or why he even came back.  Also, the narrative seemed to jump back and forth in time without a specific reason, or an event that sparks Juan to jump into those memories.

Still Juan’s physical life on stage is marvelous and it is a performance not to miss.

Alex Levy, the director, did a fine job. “Mi espanañol es malo” and there was a lot of Spanish spoken in this play but I hardly think it matters when the objective is clearer.  Also, with every new person entering the room, Juan’s relationships with those individuals need to change. Change in the way he feels about that person, how he feels about his life, and change in his perspective of life.  He, in fact, cannot be the same person after those encounters otherwise what’s the point.  Nevertheless, there was some really fine work on this night and one shouldn’t discount the whole night because I have a few silly questions.

Hana Sooyeon Kim, the Set Designer, did a nice job on the set.  Sometimes I got the feeling Juan was in a cell, rather than a home on the Lower East Side.  It was bleak but maybe his life was bleak.

Pablo Santiago was very effective as the Lighting Designer and did a very nice job.

Julian Fernandez was the Stage Manager.

Wayne Nakasone was the Technical Director.

Philip Sokoloff was the Press Representative.

José Luis Valenzuela is the Artistic Director, Latino Theater Company/LATC.

Paul Stuart Graham is the LATC General Manager.

There was something heartrending about Juan’s dream, a pain so deep, his only relief was to let the demons go, spread his realities to the winds, and have the anguish dissipate.  Perhaps that is what he wanted, perhaps that is what he got.

Run!  And take a friend from the Lower East Side.  I did and she LOVED it.

www.thelatc.org

Faith: Part I of A Mexican Trilogy by Evelina Fernández

L - R Esperanza America, Olivia Delgado, Alexis de la Rocha

By Joe Straw

“As a Latino living in America your whole life, who speaks both English and Spanish, do you dream in English or Spanish?” - Me

“That’s funny.  I don’t remember.  I only know that my dreams are pictures that take me places I haven’t been but want to go.” – A friend.

Anyone who knows The Latino Theatre Company knows the stage is in on the lower level at the beautiful Los Angeles Theatre Center.  To get down there, one must go down a flight of stairs, and then go down another set of stairs to get to your seat.   

Upstairs, on opening weekend near the bar, I spoke with Jose Luis Valenzuela, the Artistic Director of The Latino Theater Company at LATC, and the director of the play, about the future plans of this show and other exciting shows to come.   

Suddenly the theatre was open for seating. I walked down those flights of stairs and, as I sat down, I thought I was missing something.  The beautiful Scenic Design by Cameron Mock pleasantly distracted me. I pulled out my pen, and started to takes notes.  Then I realized that I left my note pad upstairs, on the table next to the bar guy.

“I’ve got to get my notes.” 

This is when the blood pressure rises, hearts starts beating, and my face burns with blood.  Notes from two shows, not written up – left – not good.  So I ran up the theatre stairs.  The lobby doors to the theatre were closed which meant the show was ready to begin, but it would only take a minute to run up another flight of stairs to get my pad and run back down again.

I opened the lobby door only to find “druids” rushing to the door blocking my access.

Realizing I’d miss the beginning.  I go back, make do, and have faith that my notes would be up there at intermission.  

Precipitously, the druids make their grand entrance, plotting a course in the night to reach an objective to set a woman on her life’s path.   It is an awe-inspiring opening moment of the show and sets the stage for wonderful events to happen this night.   

Faith: Part I of a Mexican Trilogy by Evelina Fernández and directed by José LuisValenzuela is the conclusion of the trilogy, Faith, Hope, and Charity by Ms. Fernández.  It is a wonderful and amazing end to the trilogy that is so beautifully constructed, and exquisitely written, one can’t help but be moved in many ways.  Faith is just one part of the three parts of a mystical ancestral experience of a Mexican family living in Arizona during the Depression, in the FDR era of the 1930’s and ‘40s, while surviving extreme poverty with dignity.  

On the stage, dressed in white, Young Esperanza (Olivia Delgado) is surrounded by the eight “druids”. They visit in the night, the eidolons, wrapped in burlap like garments, giving a directive, to the one who, in an emotional state of helplessness, accepts a truth - that she cannot speak a lie.  

And this leads young Esperanza to confession.  

“Forgive me Father for I have sinned.  It’s been a day since my last confession.” -  Young Esperanza

The priest (Matias Ponce) is exasperated knowing he has seen her the day before.  He asks Young Esperanza what she could have done in a day that requires another confession.  But, with her eyes open, and her eyebrows furrow, she confesses a truth without parting her lips.

Slowly, Young Esperanza declares her love. The priest, his face burning, his heart leaping, turns his dour eyes away, and tells her it is a sin.  He then stands, holds his rosary, and walks away.

Years later, Esperanza (Lucy Rodriguez) is the mother to three enchanting girls—Faith (Esperanza America), Charity (Alexis de la Rocha), and the youngest Elena (Olivia Delgado). Their voice, in song, is a strong diapason similar to the Andrew Sisters.   And they sit leaning into the radio to hear the vocal stylings of Ricardo Flores (Geoffrey Rivas) or “Ricky Flowers”.

L - R Olivia Delgado, Alexis de la Rocha, Evelina Fernandez, Lucy Rodriguez

Esperanza puts her girls to work embroidering sheets or tablecloths while they sit and gossip about family life.  Keeping them company is Esperanza’s comadre, Lupe (Evelina Fernádez). Esperanza spins her tales of running away from the Mexican Revolution, nearly starving to death, and settling in a small mining town in Arizona where Esperanza’s husband, Silvestre (Sal Lopez), works.  

Esperanza is concern that her husband will get into trouble for organizing the men at the mine. But it is the path or dream he has chosen to ensure, that all of his men are treated with dignity and paid a fair wage compared to their Anglo counterparts.

Sometimes the road to justice is injustice. - Lupe

Esperanza laments that she has not seen her mother, living in Mexico, in over 20 years. And Lupe confesses she has thoughts about young men but thinks she is too old.

“You look old because you smoke and drink Tequila.” – Elena

This thing about “not being able to lie” has affected them all.

Later Ricardo Flores or Ricky Flowers tells his listeners that he is having a talent contest and wants his listeners to enter.  The three girls are determined to enter much to the consternation of Esperanza who will have no part in this.

“Mom doesn’t let us do anything.” - Faith

Faith, being the oldest, takes matters into her hands. She decides they should go to go to the dance. She enlists their father to buy them shoes. Esperanza says they can’t afford it.  But Silvestre, observing the holes in their shoes, lovingly takes them to buy new shoes.  

Esperanza and Silvestre’s personal lives have taken dramatic turns over the course of their marriage.  Although they profess their love, she lies in a single bed, suffering the pain of a non-physical relationship or even a gentle caress from Silvestre. Their lives are a mysterious communion, a bond nearly broken by time and the weight of outside forces.   

At the dance, Esperanza tells the girls, they can dance with each other and not with boys. Esperanza leaves and two boys Charlie (Xavi Moreno) and Freddie (Matias Ponce) reach out to the girls to dance.  Faith wants nothing to do with Charlie, Freddie is infatuated with Charity, and Elena is too young to get someone.

Unknown to Esperanza, the three sisters enter the talent show at the dance. They manage to sing when their mother is not watching and they win!

The next day, the boys make their way to the girls’ home only to be chased away by Esperanza with a nasty looking broom.

Later, Ricardo Flores finds his way to the Esperanza’s home after seeing the girls sing at the dance and invites them to be in the amateur hour of his radio show.  Flores tells Esperanza he can do a lot for their careers.  Esperanza wants none of this.

“We don’t want to be like you.  We hate the way you are.” – Faith to Esperanza

More truth.

Later, Esperanza learns her mother is deathly ill.  She goes to Mexico, leaving Lupe in charge of the girls. That is when everything falls apart, or goes magnificently, depending on your perspective.

Jose Luis Valenzuela has put together an outstanding cast of players in this production that brings marvelous attention to their craft. Each is strong in their own way and is a compliment to each other and to the play.

Esperanza America does a fantastic job as Faith. As the character, it is her faith that carries her objective.  Happy, she never seemed until she lifts her voice in song.  She is strong willed with the conviction of her faith, faith in herself, and faith that she will become a singer and entertainer.  Faith has a wry sense of humor and knows what buttons to push to get her way, with her sisters, her mother, her father, and anyone else that may get into her path. America has a very fine singing voice and does a marvelous job in a role that showcases her wonderful talent.   

Alexis de la Rocha plays Charity and is a rock solid character with a beautiful voice. Rocha breathes an incredible life into Charity, which is a difficult task because she is stuck between the extremes of the younger and older sister.  Nevertheless, it is a beautiful portrayal of a dreamer who gets caught up in the life of another young man.

Olivia Delgado plays Elena and Young Esperanza.  Elena is the youngest of the three sisters and the most sensitive.  She is caught off guard by her sister’s constant verbal onslaughts that tear her sensitive soul to pieces for which she seeks refuge to anyone who may help her in her time of need.  As Young Esperanza, she is totally infatuated with the priest, so much so, that she must hurry to confession daily. She has a special cantrip that works for her, possibly her youth and beauty.  Delgado does a terrific job with her characters, she sparkles with ingenuity, and has a very special brand of creativity that is imaginative and is wonderful to watch.  

Evelina Fernández is Lupe, friend of the family.  Lupe is always on the lookout for a man. She is inquisitive and has lustful thoughts of young men and is willing to party with the best of them. So she is not the best person to look after three virginal teenage daughters. It is a job she is not up to.  Lupe is also very funny and keeps the tragic moments light.  Also, Fernández has a moment alone on stage that is heartbreaking and touching all in the same moment.  

L - R Sal Lopez, Alexis de la Rocha, Matias Ponce

Sal Lopez holds his arms at an obtuse angle and he lifts his head high as though he speaks to the heavens. As Silvestre, he tries to care for his girls, giving them what they need, despite the onslaught from his partner.  He cares for his wife but has an overriding desire for a higher calling, a calling to help his fellow miners get a better wage. Lopez does some terrific work in this show.  It is probably the finest work of all the things I’ve seen him in over the years.  And, he has a wonderful singing voice to throw into the mix of his carefully crafted work.   

Xavi Moreno has some funny moments as Charlie.  He is a fish out of water and seeks desperately to find a mate. His character tugs at his fingers with an anxiety befitting a man without hope or faith that he will find anyone to help him start a family, ever.  Still, Moreno is very likeable in his “fish out of water” portrayal.

Matias Ponce plays Freddie and the Priest. There is an inner truth to Ponce’s work.  It is simple and effective.  As Freddie, he does a lot to get the girl of his dreams.  He woos her by coming alone and offering her an unadorned truth that pulls the girls of his dreams into his embrace. Tall and statuesque, Ponce has a very good look and a leading man quality.    

Geoffrey Rivas as Ricardo Flores the radio announcer.  Flores has a lot of charm trying to find a personality to make him money.  He has a number in this show.  (And to this day, after seeing him as Rudy in La Bamba, I still do not know if he can sing.) Still, the number was a very funny moment in this show.  Flores is very tricky stealing away one of the girls.  It is a slight of hand that, a moment that worked effectively, but could be taken to up a notch. Still, Rivas handles the roll with extreme dexterity that gives this complicated character a real bite.  

Lucy Rodriguez as Esperanza has an important part as the matriarch of the family.  She looks after her three girls until her mother becomes sick.  She is overbearing, dominant, and counts every penny to the detriment of all involved.  Esperanza holds on to a secret, that she doesn’t share with her daughters.  It is the reason she was forced to move from Mexico to Arizona, but life didn’t turn out as planned. And now, she is trapped in a foreign country, in a relationship that is secretly unsatisfying, and living an unsatisfactory life. She doesn’t want her daughters trapped, the way she has trapped herself. It’s funny that she cannot tell a lie and also interesting that she is not forthcoming with the truth.  

Evelina Fernández, the writer, has written a magnificent play with characters struggling for a small piece of the American pie in the brutal Arizona heat. The multi-dimensional characters each have an idea of what would make a satisfying life and they go about to secure that life as a means to an end.  They all have faith that one day their dreams will be fulfilled, some day, and one way. In the end, Fernández gives us a remarkable truth of the Latino experience. One can feel the honesty of those moments.  And to top everything off I believe it is some of Ms. Fernández’s finest work.  Faith captures her spirit and the spirit of the Latino community.  

José Luis Valenzuela, the director, does a magnificent job with an extremely magnificent cast.  There are a lot of things going on and the movements and singing are seamless in this presentation of a World Premier production.  I don’t know where Valenzuela finds the time to put all this together.  Perhaps it is a miracle of Faith.

Beautiful Scenic & Lighting Design is by Cameron Mock.  The covered furniture upstage left in a nice touch of Esperanza not wanted her furniture dusty.  I’m told this is a working class ethnic thing.  In any case, it is a very nice touch.

Daniel Tator, the Sound Designer, does a tremendous job.

Rosino Serrano, the Musical Director, did a fantastic job recreating the ‘40s music, which the girls sing.  It was unexpected and marvelous.  

Costume Design by Carlos Brown for the working class family was superb. The Choreographer for the nice dance numbers was by Urbanie Lucero.

The Stage Manager was Henry “Heno” Fernandez and the Assistant Stage Manager is Fidel Gomez.

Run!  And take someone you love and haven’t seen in a long time.

EXTENDED: Through November 18^th,  2012

Online Ticketing:  www.thelatc.org

Reservations: 866-811-4111