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The 4th Biennial Latino Festival at the Goodman Theatre
Una adaptación musical de Las Bodas de Sangre por Federido García Lorca Adaptación y Dirección por Laura Crotte Una producción de Molécula Artistica y Cuentos Foundation en associación con La Festival de Teatro Latino de Goodman Theatre 170 N. Dearborn St. Chicago, IL Boletos: en la taquilla, 312-443-3800, o www.goodmantheatre.org; $15 Exclusivamente este fin de semana: Sab a las 8:00; Dom a las 3:00 y las 7:00 2 horas con 15 minutos con intermedio Una Obra Sobresaliente Que No Olviderás Esta adaptación original de Las Bodas de Sangre por Lorca se mueve a un ritmo Veracruzano. La apasionada calidad lírica de la obra maestra de Lorca se encuentra aún más conmovido en esta obra maestra por Laura Crotte. Esto es como decir que alguien ha mejorado una obra de Shakespeare. Déjenme decírselo otra vez: se encuentra más conmovido que el original. Y no sólo por la adición de la música original y la orquesta jarocha. La traslación a las orillas del Río Papaloápan les da a los elementos místicos, como la presencia de la luna y de la muerte en forma encarnada, un aspecto indígeno y auténtico. Son elementos de la tragedía greca – lo que tienen una influencia obvia sobre Las Bodas de Sangre – que sirven para profundizar las emociones y para dar domínio absoluto al destino. Los primos se convierten en coro y el baile jarocho marca la marcha hacia el abismo.
La obra cuenta la hístoria de una passión prohibida tras una rencilla familiar. Isabel Quintero lleva a cabo una personificación poderosa en el papel de la madre del novio (Adrián Gonzalez) igual que Lauro Lopez en el del padre de la novia (Susana Avitia). La interacción entre estos dos veteranos – ella en busca de nietos y él en busca de enriquecer a su familia – es natural y cómoda. Susana Aguilar sobresalta en el papel de la criada de la novia. Laura Crotte encarna la muerte en forma de mendiga y Wannapa Eubanks es la luna más oscura que verás. No obstante, una parte de la obra todavía me sale por encima. Es dificil entender precisamente ¿por qué quiere la novia a un hombre - Leonardo (Alfonso Seiva) - más mayor, ya casado con niños y no tan rico como el novio joven y guapo? Este problema – pues, desde mi punto de vista humilde – viene de la obra original. Dice que Leonardo y La Novia son apasionados y así son, actuados por Seiva y Avitia. Dice que – en las hablas de las primas – que el novio es guapo y agradable y así es Gonzalez con su cara de James Dean. Pero, chacha… ¿para qué quieres esto? Pues, en este único punto hay que hacerse de la vista gorda. La recompensa por hacerselo esta pequeña indugencia es enorme. Ya no digo más de esto porque realmente no importa mucho y probablamente es culpa de esa luna vengativa de que hablaba. Hay tantas cosas de esta obra que cuentan más y que encantan. El movimeiento es super. La marcha de cuatro horas en camino de la familia del novio es un balet en pasos de tarima. Coreógrafo René Cardoza merece su propio llamada a escena por esta contibuición. El bailarin Freddie Rocha es un caballo noble que sirve el jinete Leonardo en llevarsela la novia durante la fiesta. El vestuario es precioso, las máscaras de Sophie Leporthier en especial. Finalmente, hay la musica y los musicos. Este es un show de son jarocho sin par por estas partes y sólo para verlo vale más que el barratisimo precio de $15. Al Son Que Me Toques, Lorca se queda en el Teatro Goodman solamente hasta el Domingo. Que vayan este fin de seman si pueden. Si no, tendrán otra oportunidad breve cuando la obra se traslade a Raven Theatre el 15 hasta el 31 de agosto. RECOMENDACIÓN ALTA Randy Hardwick Date Reviewed: August 8, 2008
A musical adaptation in Spanish of Federido García Lorca’s “Las Bodas de Sangre” written by Laura Crotte Produced by Molécula Artistica y Cuentos Foundation in association with Goodman Theatre’s Latino Theatre Festival Now at Raven Theatre 6157 N Clark Chicago, IL Tickets: 773-338-2177 or www.raventheatre.com ; $15 Thu & Fri at 8:00 p.m., Sat at 7:00 p.m., Sun at 6:00 p.m. 2 hours and 15 minutes with intermission Thru August 31st An Outstanding Performance You Won’t Forget This original adaptation of Federico García Lorca’s “Blood Wedding” moves to a Veracruz rythym. The passionate lyrical quality of this master work is even more moving in this masterful adaptation by Laura Crotte. This is like saying that someone has improved one of Shakespeare’s works. Let me say it again: it’s better than the original. And not only for the addition of the original music and the son jarocho orchestra. The transition from 30’s Spain to the banks of Mexico’s Papaloapan River gives the mystical elements like the human presence of death and the moon an indigenous aspect that is authentic. These are elements of Greek tragedy – something that is prevalent in “Blood Wedding” – that serve to deepen the emotions and give absolute power to fate. The protagonist’s cousins become a chorus and the flamenco like jarocho dance taps out the cadence toward the abyss. The work tells the story of a forbidden love across the lines of a family feud. Isabel Quintero delivers a powerful performance in the role of the mother of the groom (Adrian Gonzalez) as does Lauro Lopez as the father of the bride (Susana Avitia). The interplay between these two veterans – the mother in search of grandchildren and the father in search of riches for his family – is natural and comfortable. Laura Crotte is death incarnate in the form of a beggar and Wannapa Eubanks is the darkest moon you will see. Nonetheless, there is a part of the play that I just don’t get. It is difficult to understand why the bride wants someone besides her groom, Leonardo (Alfonso Seiva). He is an older man, already married with children and no where nearly as wealthy or handsome as the gallant young groom. This problem – in my humble opinion – comes from the original work. The script indicates that Leonardo and the bride are passionate for each other and so they are as portrayed by Seiva and Avitia. In the speeches of the groom’s female cousins it is made clear that the groom is very attractive and pleasant and so he is thanks to Gonzalez and his James Dean face. So why on earth does the girl want this mess? In this one point I think you just have to look the other way. The payoff for doing so is enormous so I won’t harp on this any further since it isn’t all that important and is probably caused by the aforementioned spiteful moon. There are so many more important things that fascinate and charm in this play. The movement is absolutely super. In one scene depicting a four-hour trek by the family of the groom to pay a call on the family of the bride, the son jarocho becomes ballet with flamenco percussion. Choreographer should get his own curtain call for this contribution to the show. The amazing dancer Freddie Rocha is a noble mount who serves the horseman Leonardo as he spirits away the bride during the wedding party. The costumes are beautiful, especially the masks of sophie Leporthier. Finally, there is the music and the orchestra. This is a son jarocho show that’s worth more than the price of admission. I saw Al Son Que Me Toques, Lorca when it opened at the Goodman earlier this month. I am told that the production is virtually identical now that it has moved north to Raven Theatre. If you missed it at the Goodman be glad there is still another opportunity. This is one of the best dramas I have seen in months (which is not all that easy for a musical!). Hats off to Laura Crotte and the entire cast and crew of her wonderful production. HIGHLY RECOMMENDED Randy Hardwick Created, Written and Performed by Richard Montoya, Ric Salinas and Herbert Siguenza Produced by Latino Theatre Festival at the Goodman Theatre 170 N. Dearborn St. Chicago, IL Tickets: 312-443-3800 or www.goodmantheatre.org; $25-$35 Fri & Sat at 8:00, Thur & Sun at 7:30 (4 performances only) Running Time is 1 hour 50 minutes with intermission Thru August 17th A Funny Look at Living American Culture Clash is one of the premiere Chicano/Latino performance troupes in America. Their work is as tender and touching as it is funny and though the humor derives from playing with stereotypes, it contains enough heartfelt insight to make it irresistible. The show is performed in English with a Latin character that is clear, but Culture Clash in AmeriCCa is about much more than just the Latino experience in this country. It reaches across the broad spectrum of American immigration to get to the heart of what it means to be American. From the innocence of the just arrived in search of freedom and opportunity to the bitterness of disillusioned native born ex-pats, Culture Clash reminds us that American is a state of mind. In this raising of consciousness these unassuming and frequently self-deprecating writers and comedians rise to the level of artistry. The presentation consists of two decidedly, and somewhat annoyingly, unconnected acts. The first is a series of mostly solo comedic sketches by the trio that present various ethnic types spinning out wit, wisdom and some outrageously funny moments. There is the Puerto Rican from New York’s lower east side who explains how to differentiate various Latino groups by the way they dance salsa. There is the transsexual femme fatal who shares everything – yes, everything – about the “changes” in her life. And there is the Vietnamese who has become more Chinese now that the Olympics are here. But we also meet the Palestinian who’s raising his teenaged American children post-9/11 and the Salvadoran who has learned to live among his African-American neighbors, as well as a man who has forgiven the priest who abused him and most of his adolescent friends. There are a couple of moments that drag just a bit, but overall Culture Clash manages to maintain the tension between the riotously funny and the poignantly tender in a most entertaining manner. All three members of the troupe are masters with accents and their quick-time use of costume and makeup changes completes the illusion. In the second act the Culture Clash trio is joined by musicians Scott Rodarte, Randy Rodarte and Richard Montoya along with a few local actors to present the radio play “Chavez Ravine.” “Chavez Ravine” tells the story of the destruction of several Mexican-American communities in east Los Angeles from the late 40’s through the building of Dodger Stadium on their land in the 50’s. It is sung and played around Woody Guthrie tunes, the McCarthy Hearings, and some actual video footage from the events. “Chavez Ravine” mourns a community’s loss, rails against broken political promises of affordable housing and finally celebrates a people whose spirit will not die. There is little connection to the first act, but “Chavez Ravine” is an entertaining presentation in its own right. Culture Clash in AmeriCCa is an interesting, funny and uplifting evening and certainly a gem in the lineup of this year’s Latino Theatre Festival. Henry Godinez and “some really smart White people” at the Goodman have done a wonderful job of putting the festival together. If you have not been to one of the shows yet, check out the schedule on the Goodman’s website and get some tix before the festival is gone. Culture Clash in AmeriCCa is at the Goodman through Sunday. RECOMMENDED De La Oreja al Corazón [Español c/ subtítulos/Spanish w/ English subtitles] By/Por Mercedes Gómez Benet Una Producción de/ Produced By Latin Theatre Festival at the Goodman Theatre 170 N. Dearborn St. Chicago, IL Boletos/Tickets: taquilla/box office, 312-443-3800, www.goodmantheatre.org; $15 Exclusivamente este fin de semana/This weekend only 22-24 agosto/August: Vie/Fri at 7:00 p.m. Sab y Dom/Sat & Sun 3:00 p.m. 90 minutos/minutes sin intermedio/with no intermission Un Show Con Títeres Deleita a Los Niños… y Los Adultos La muy exitosa Festival de Teatro Latino entra a sus últimos días este fin de semana con una obra para niños con títeres en el estilo de los “Muppets.” De La Oreja Al Corazón cuenta la historia del huerfano Julián que descubre su pasión para la música y que sigue a sus sueños de hacerse conductor de orquesta para lleagar a las vidas de todos a su alrededor. Julián como adulto es acutado por Ricardo Zarraga. El adulto cuenta las experiencias de su niñez a la chica Micaela (Pilar Cerecedo) mientras la acción de su pasado se pone en vida por medio de los títeres. Son preicosos y divertidos para todas. De La Oreja Al Corazón es un buen ejemplo de la divesidad de las presentaciones en la festival de este año y es importante porque representa a una categoría de show que es más común en la vida artistica de los paises latinos. Tal divertido que sea en Goodman Theatre, este show sería más natural en un parque con un montón de chiquitines con globos y dulces de algodón. Hay que conceder que este grupo de titireteros (Alejandro Benítez, Ernesto García, Horacio Trujillo, y Franicsco Valdez) han llevdo el show a un nivel artistic alto, pero sigue un show para niños. Es diversion puro. Afortunadamente hay familias que traen sus niños al Goodman Theatre porque no sería igual sin sus exclamaciones de admiracion inocentes y sus sentidos de maravillas sobre los muy animados títeres. Me gusta la onda de la festival porque no es un imitación de una festival norteamericano presentado en español. Es autentico, es latino, es padrisimo sin pedir disulpas. Aparte de unos problemas con los subtitulos – son minimalista en estilo, y no llegan al momento apropiado a veces – el show es excepcional. La pareja joven (Zarraga y Cerecedo) son excelentes. El deseño de los títeres es super – se mueven, bailan y se pelean con una mocción que los hace, pues humano – y la música original de Lorena Orozco me encantó. Llevan a sus niños o pidan a los vecinos que les presten los suyos y vayan al Goodman Theatre. Pero, corran…De La Oreja Al Corazon se presenta solo hasta el domingo. RECOMENDADO The highly successful Latino Theatre Festival is in its final days this weekend with a kids’ show that includes Muppet-style puppetry. De La Oreja Al Corazón tells the story of the orphan Julián who discovers his passion for music and follows his dreams of becoming an orchestra conductor as he touches the lives of all around him. Julián as an adult is played by Ricardo Zarraga. The adult Julián narrates the story of the people who nurtured him in childhood to an attractive young lady, Micaela (Pilar Cerecedo), while the puppets bring the action of his past to life. They are magnificent fun for all. De La Oreja Al Corazón is a good example of the diversity of presentations in this year’s festival and that is important because it represents a category of live show that is more common in the artistic life of Latino societies. As wonderful as it is at the Goodman, it would be more natural in a park surrounded by kids with balloons and cotton candy. Admittedly, this group of masterful puppeteers (Alejandro Benítez, Ernesto García, Horacio Trujillo, y Franicsco Valdez) has taken the show to a very high artistic level, but it is still a show for kids. It is pure fun and fortunately there are families who bring their kids to the Goodman because the show could not be as good without their innocent exclamations and their sense of wonder about the very lifelike puppets. I love the atmosphere of the Latino Theatre Festival because it isn’t just an imitation of an American festival presented in Spanish. It’s authentic, it’s Latino, and it is unapologetically fun. Aside from some problems with the subtitles – they are minimalist in style and they don’t always arrive on time – the show is exceptional. The young couple (Zarraga and Cerecedo) are excellent. The design of the puppets is super – they move about, dance, and fight with each other with a motion that is very real – and I loved the original music by Lorena Orozco. Grab your kids or borrow some from the neighbors and head over to the Goodman. But hurry, because De La Oreja Al Corazón only runs through Sunday. RECOMMENDED Randy Hardwick Date Reviewed: August 22, 2008 |
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