Accurate, Bold…Clashing
Well, I am just going to dive in because… The accuracy of playwright Mabelle Reynoso in this piece is like the kids would say, “accuracy-ing.” Lizzie Sanchez, played fiercely by Denise Lopez, is a Latin American teaching artist at a children’s theatre company. Working closely with the artistic director, Terry (Holly Stephenson), they run several programs, including “Teatro” with all the non white kids. When Lizzie advocates for her play, Sor Juana, to be produced and included in the upcoming season, Terry pulls back and encourages Lizzie to focus on their forthcoming money maker, Hamlet Jr -the musical-. Lizzie tries to reason with Terry, explaining how vital new diverse works are, instead of the same old Shakespeare with different adaptations (that people do not understand anyway yet, gasp) to which Terry pulls back again, referencing the recent production in the Teatro program, “Froggy’s First Fiesta.” and how the kids in said program love words like “pan dulce” and “piñata” included in the work. When David (Joseph Vitti), an influential board member of the company, hints to his nine-year-old daughter to play Hamlet and to modify certain violent scenes, Lizzie decides to leave it there. Negotiations between the three are placed on the table and do not come through as expected. Lizzie, heartbroken but mostly mad, confides in Octavio (Angel Guillermo), Paulina’s father and one of the kids in the Teatro program. What starts as a motivation– and reason-forward bond quickly turns dark.
The play is very “inside theatre”, and it does not hit the nail on the head; it pounds it. Spelling out the truth of stale vices in the American theatre, often involving boards, donors, and overproduced work with different skin tones and zip codes.
Lizzie’s lines are elongated, practically riddle-like, and Denise Lopez delivered them all intensely, boldly, and without a single stutter. Hopefully, we will see more of her performances across the San Diego stages and beyond. The dynamic between Lopez and Holly is held in stark contrast with Stephenson, almost slurring her words in a Valley-type accent, plumped with condescension. James P. Darvas’ precise direction, just as bold, had these two actresses performing what would seem like funny, ha-ha scenes, but were, in fact, complex ones. Terry is not the nicest, yet you want to hear more. There are these duo dynamics with Denise and Holly, Denise and Angel Guillermo, and Denise with her onstage boyfriend, Cameron, played by Max Bergstrand in his Onstage debut, who gave funny, serious, sporty, and quirky, adding a surprise twist that rounded out his performance. Angel Guillermo’s acting style is unique, with fine enunciation, natural pacing, and fabulous hairstyles. Joseph Vitti, also in his onstage debut, is vicious as the turncoat, opportunist David, rocking Brad Dubois’ costumes from a fierce baby pink ensemble to gorgeous beige shoes, all combined to perfection. The wardrobe for all the cast was stellar, and I want to know where I can get those Hello Kitty blue Nikes.
There is another duo dynamic with Denise and Rhae Ferrer, who has worked behind the scenes at Onstage and is now debuting on the boards. This dynamic is via audio, guided by Aria Proctor’s booming lighting, and the ping-pong delivery is entertaining, with yes, another rounding twist.
Act one is yin, and act two is yang, with Patrick Mason’s scenic design to match, featuring an accordion-style setting that magically unfolds from an all-pink quinceañera look to vibrant colors with papel picado to black-and-white geometric patterns, closing. And Jaden Guerrero’s sound, which included a couple of songs from The Lion King, because IYKYK, turned up the scenes, amping up the laughs. Guerrero is also the stage manager for this production.
Now, here is the thing. As a Mexican, Tijuana native, I have to play judge and jury. During Lizzie’s reasoning with Terry, she mentions the stereotype of casting Mexican actors in maid, maintenance, and narco roles. So, when Lizzie turns to the narco in this dark turn, my question to Mabelle Reynoso is, was the intention to highlight the stereotype within the stereotype? Because Lizzie swallows her own words and falls victim to them. Also, I understand the “prop” inclusion involving a body part that follows the storyline of The Scottish Play, which I consider to be superb, very smart, and creative. What I don’t understand is the context chosen to run parallel to it, given that San Diego borders Tijuana, and this is an open wound for the community: narco violence and severed heads hanging from a bridge is real. The playwright was born in Tijuana, too, so I question the choice because what felt like going very well, and I see it, -dark comedy- turned south and got lost. Detached.
Theatre is a powerful tool and, when dealing with sensitive subjects like these, asi de sopetón, the goal blurs when those subjects become a laugh prompt.
Playing judge and jury, there is also the benefit of the doubt.
Onstage Playhouse is setting its mark more and more with these bold, intense new works that need to be told.
Young Audiences is currently playing until December 7.
