Immersive and Beautifully Bilingual
Children who grew up in Mexico… Well, I cannot attest to children growing up now, but back then, in the 1900s, as kids call it, parents would taunt children with two things: La Llorona y El Cucuy. If you misbehaved, either one would take you (I guess that depended on their schedule), but it was something ingrained in our culture.
TuYo Theatre continues to innovate with immersive experiences, presenting its latest world premiere, La Llorona on the Blue Line, written by Mabelle Reynoso and directed by Dr. Maria Patrice Amon. La Llorona is the spirit of a woman who walks the streets at night, looking for her deceased children while crying “Ay! Mis hijos!”.
The performance takes place in the National City Depot, surrounded by old trolley cars and the station itself. La Llorona (Vanessa Flores), also a producer on the show, guides audiences through the decades of 1920, 1946, and 1982, sharing stories that explore motherhood and women as common themes. Decades marked by women’s suffrage, the beginning of the baby boom, and the AIDS epidemic, among other events, are represented in each train with a different story. Jesus Hurtado’s set design featured the scenes in each train, along with Samantha Rojales’ props, which ranged from flowers to suitcases and candy.
I believe I have a reputation as the “Spanish language patrol,” which is essential for the theatre in this border area. I must say that this experience is beautifully bilingual, as it should be: well-articulated and well-pronounced, while flowing. As I mentioned in other reviews where the Spanish is botched and not well cared for, this is due mainly to the casting. Yes.
I do not speak German, so I cannot comment on the German in the show. Vanessa is engaging with precise corporal expression courtesy of Tamara Rodriguez’s choreography. TuYo’s familiar faces, such as Nancy Batres in various roles, continue to grow artistically, delivering both feeling and comedy while engaging with the audience. I had not seen Moxie’s Vanessa Duron on stage, and her performance was strong and sharp. It was my first time experiencing the work of Paloma Carrillo and Tash Gomez, who, in one of the trains, play sisters. Paloma, playing the older, protective sister with an awesome Chola vibe, practically stole that scene, which was marvelously balanced by the sensitivity Tash Gomez brought, along with Vanessa Duron’s grit as the mother of the sisters. From a train clerk to a military veteran, Arturo Medina is charismatic and engaging in his roles, making the audience truly feel part of the scene and participate in the vibe. I always enjoy seeing up-and-coming talent like Julián Ortega Flores build their artistic path through various productions. His histrionic delivery is deliberate, and he demonstrates a strong understanding of the emotions he needs to convey. Eliza Vedar’s sound added to the spookiness of some of the scenes, in conjunction with Stephanie Maalona’s lighting, leaving a hollow sensation of not knowing what was to happen next. Carmen Amon’s costume design was spot on for each of the decades, using bright colors, particularly a beautiful yellow coat, the signature windbreaker sweatpants from the 80s, and berets for the men. I do not know who is in charge of the wigs, but the hair La Llorona rocks, wow. And, the makeup on every actress is amazing. I noticed and loved.
Some of the scenes would benefit from a time adjustment, as the pauses feel overextended, causing the scene to lose momentum and become awkward. Additionally, in one of the last trains, with the lighting and special effects, the person articulating the buttons may benefit from some choreography and wardrobe to maintain the sequence’s essence.
Patrice Amon’s orchestration of this movement piece, along with its scenes, reflects a grand effort to perform each night. It is well-timed and continues to be innovative. Another good aspect is that it introduces audiences to these sites, such as the National City Depot, combining various experiences into one trip.
The Blue Line will continue boarding until its departure on June 21. For more information, please click here.
The stage manager for this production is Vero Marquez, with assistant stage managers Abby Chacón, Ariadna Hernández, and Victoria Yvette Zepeda.
