Mojada

Mojada

The Public Theater

August 11, 2019

Photo courtesy of The Pubilc Theater

Playwright Luis Alfaro adapts the mythological story of Medea in his play Mojada.  His writing is layered in truths that peel back to reveal the deep bonds that unite the characters.  The Public Theater production is viscerally engaging and emotionally jarring.  Director Chay Yew gradually opens the action to draw the audience in so they can fully understand the tragic events.

Benjamin Luis McCracken, Alex Hernandez,
Sabina Zuñiga Varela, & Socorro Santiago
Photo courtesy of The Public Theater

The show opens with Tita (played by Socorro Santiago) looking for the latest gossip and telling of how different it is here than her native country.  She lives with Medea (played by Sabina Zuñiga Varela), who she raised as a young girl in Mexico.  Together they teach Medea’s son Acan (played by Benjamin Luis McCracken) the rituals and customs of their native land.  Medea works from their home as a seamstress while Acan’s father, Jason (played by Alex Hernandez) works construction.  Other than to go in the back yard, Medea does not leave the house.  She shares the brutal story of their border crossing and the experiences that cause her to live in so much fear.  As Jason works tirelessly to create a prosperous life for his son, Medea feels betrayed and grows desperate.

Alex Hernandez, Socorro Santiago,
& Sabina Zuñiga Varela
Photoc courtesy of The Public Theater 

Sabina Zuñiga Varela portrays Medea’s dakness with conviction.  She is heavy hearted and full of sorrow.  As the facts of her experiences are revealed, we see these emotions are so deeply rooted in the soul of her character.  Socorro Santiago and Vanessa Aspillaga inject fast paced and well needed humor as Tita and Luisa.  Their portrayals are honest and realistic, keeping the truth of the story on track.  Benjamin Luis McCracken, Alex Hernandez, and Ada Maris also deliver strong and genuine performances as Acan, Jason, and Pilar.

Mojada has been extended at the Public Theater through August 18.  Luis Alfaro’s writing is prolific.  He brings the Medea story into a different perspective by viewing it through the lense of the present day immigrant experience. 

Domenick Danza

We’re Only Alive for a Short Amount of Time

We’re Only Alive for a Short Amount of Time

The Public Theater

June 15, 2019

Photo courtesy of The Public Theater

Playwright/Performer David Cale’s We’re Only Alive for a Short Amount of Time is an intimate and personal story of the continuity of life.  David tells the story of growing up in Luton, England, when a family tragedy set his life on an unexpected trajectory.  His writing is touching and honest.  His performance is vulnerable and heartfelt.  His lyrics are simple and effective.  The music, co-written by Matthew Dean Marsh, is emotional and tender.

Photo courtesy of The Public Theater

The story starts with David telling how, when a young boy, he transformed the shed in his backyard into an animal hospital, merely by painting the sign “animal hospital” above its doorway.  Over a short period of time he built it into an aviary where he raised hundreds of tropical birds.  He often stopped in his tracks to watch a flock of geese fly over his yard in a V-formation.  David goes on to tell about his alcoholic father, his strict and emotionally abusive grandfather, and his mother, who felt as if she sold her soul when she married into the unknown darkness of her husband’s family.  David’s brother, Simon, also found solace in flight, only his was through building model airplanes and hanging them from the ceiling of his bedroom.  One morning, when he was sixteen, David’s life flew into confusion and uncertainty when his father brutally and unexpectedly beat his mother to death with a hammer.  His grandfather’s hammer, which David borrowed to build his aviary.  The spirit of his mother soared inside David, as he traveled to America to fulfill his dreams to become everything she was unable to achieve.

Photo courtesy of The Public Theater

We’re Only Alive for a Short Amount of Time is a life-affirming tale of hope, brilliantly structured and stunningly shared.  David Cale is genuine.  His skills are so fine-tuned that he makes everything look easy and comfortable.  This is a show that MUST be experienced firsthand.  It is running at the Public Theater through July 14.  Get you tickets right away!

Domenick Danza

Latin History for Morons

Latin History for Morons

Studio 54

December 29, 2017

Photo courtesy of Latin History for Morons

John Leguizamo grabs your attention and does not let go for one hour and forty-five non-stop, energetic minutes in his latest Broadway show, Latin History for Morons.  After a successful run at Berkeley Rep and The Public Theater, John Leguizamo is selling out Studio 54, and has extended his Broadway engagement through February.  Mr. Leguizamo’s tell it like it is style is wickedly funny and full of moments that give you pause to ponder the truth and poignancy in the humor.

As in all John Leguizamo one-man shows, he reveals a slice of his life.  In this one, his fourteen year old son is being bullied at school.  John does some research in order to give his son pride in his Latin heritage.  This uncovers, for John, some of the source of his own “ghetto rage,” but does not give his son the courage to face his challenges at school.  It is not until his son makes a speech at his eighth grade graduation that John realizes the effect of his efforts.

Photo courtesy of Latin History for Morons

Mr. Leguizamo takes on the characterization of numerous roles, including his wife, his son, his daughter, his therapist, and countless figures from history.  He weaves together the historic facts about the Incas, the Aztecs, their European conquerors, and a Civil War transvestite General.  He carries these stories forward to illustrate their repeated 20th century patterns, and even further into the present day political situation.  Not only does he make a strong statement on the treatment of indigenous populations throughout history, he also makes a poignant point of how to create a deep sense of self-esteem in our younger population.

John Leguizamo is a truly master at his craft.  Latin History for Morons is playing at Studio 54 through February 25.  Get your tickets right away.  

Domenick Danza

Hamlet

Hamlet

The Public Theater

August 11, 2017

 

Photo courtesy of The Public Theater

Sam Gold has directed a bare bones production of Hamlet at The Public Theater that is accessible, riveting, and engaging.  He incorporates humor and song to render this tale of power, revenge, and madness into a story of human emotion and frailty.  The cast of nine are all in modern dress and double on a few roles.  The action builds from one act to the next, erupting to its fatal climax and tragic conclusion.

It is reported to the grieving Prince Hamlet (played by Oscar Isaac) that the ghost of his father, the King, has been seen roaming in the dark of night.  Hamlet seeks out the specter, who reveals that he was murdered by his brother, Claudius (played by Ritchie Coster), who now wears the crown.  This builds on Hamlet’s despair, since Claudius has already married Hamlet's mother, Gertrude (played by Charlayne Woodard).  Hamlet is obligated to take revenge.  His plot is a slow one, delayed by his need for proof of Claudius’ deed and his mother’s participation, and his desire to separate from his love, Ophelia (played by Gayle Rankin).

Charlayne Woodard & Oscar Issac
Photo courtesy of The Public Theater

Oscar Isaac’s Hamlet carefully figures out his plan while purposefully keeping the other characters at arms distance with a convincing act of madness.  His soliloquies transport the audience into Hamlet’s deeper layers of thought and emotion.  His Hamlet grows over the course of the play, coming to terms with his grief and desolation, and becoming keenly focused on his choices for action.  Charlayne Woodard’s Gertrude slowly draws the conclusion that Claudius murdered her husband.  Her physicality transforms as the realization becomes clear.  You see it in her eyes, especially in the way she looks at Claudius.  These small moments play powerfully and flip the action at unexpected moments. 

Mr. Gold juxtaposes the intensity of Laertes’ need for retribution and the heightened emotion of Ophelia’s mad scene with the slow build of Hamlet’s well thought out plan of revenge and act of madness.  Both depictions ring true, and serve two purposes.  It frames Claudius’ suspicion of Hamlet throughout the course of the play and also offers a visceral insight into Hamlet’s character and thought process.  Mr. Gold also does a stunning job of double casting.  Ritchie Coster plays both Claudius and the Ghost of King Hamlet.  His Claudius is presuming and cunning.  His King Hamlet is haunting and consumed.  There are a few scenes where he switches roles on the spot, which impressively make a strong statement.  Peter Friedman is cast as both Polonius and a Grave Digger.  He is witty and authoritative as Polonius, then, shortly after his murder, successfully hits the comic timing of one of the Grave Diggers. 

Oscar Isaac & Gayle Rankin
Photo courtesy of The Public Theater

Anatol Yusef is bold as Laertes.  His character maintains his composure and strength, then becomes overwrought with emotion at the murder of his father and suicide of his sister.  Gayle Rankin plays Ophelia’s mad scene to the max, conjuring a deep level of compassion and empathy.  Keegan-Michael Key is warm and charming as Horatio.  He is the window with which the audience enters the story, and the final voice of reason at the end.

Hamlet is playing at The Public Theater through September 3.  It runs four hours with two intermissions.  The journey is rich, truthful, and well worth every second.       

Domenick Danza