IN THE MIDDLE of a meteor shower, an angel plunks down on earth right smack-dab in the yard of the Peña family. Young Rafael (nicknamed Cookie) immediately recognizes him as a messenger from a heavenly abode; however, the rest of the family needs a bit more convincing before they agree not to dispose of what they think is a wino with fake wings.
The purpose of the angel in Milcha Sanchez-Scott's play, The Old Matador, now playing at Arizona Theatre Company, is to help the disillusioned and weary family recognize their dreams and somehow reconcile them with reality in the small southwestern town where they reside.
But prior to the appearance of the angel (Fred Sugerman), who doesn't plunge to earth until the absolute end of the first half, we are introduced to the Peñas, including Cookie, an average American kid with a paper route and a penchant for rap; Jessie, a young woman trying to understand life and love; their mother Margarita, a woman hardened by life in the barrio and a fading love; and Enrique, the patriarch of the family and a dreamer who yearns to revive his childhood memories of Spain.
Unfortunately, Sanchez-Scott relies heavily on exposition to acquaint us with the Peñas, and she drags us through most of the first half leaving us antsy for action. After plodding through 40 minutes of uninspired speeches, she fortunately provides some of the relief we are yearning for with a funny scene in the family's front yard involving a wheelbarrow, a wedding cake that has been sitting in a car for two days, and a distraught young woman whose wedding plans have fallen through. Since this is the most entertaining scene in the play, I won't give any more away than that. We are sent into intermission smiling and chuckling and thinking that after a slow start this play is finally beginning to move.
Sorry. No such luck. Sanchez-Scott's comedic writing is very good and when she uses it, the play rolls along with wit and acuity. If only she would give us more. And under the direction of Peter C. Brosius, the humorous timing is right on and the actors shine.
But the second half is meagerly speckled with the clever, sharp humor she is capable of. Instead, it's loaded with insipid predictability that is presumably meant to make each of us ooze with the memory of our own forgotten dreams and stand back in wonder at our relationship to the universe.
We are tormented by young Jessie's torment, not because we can empathize with her struggle to understand life and love, but because this small-town daughter of a waiter-dreaming-of-being-a-matador just sounds so silly delivering lines like, "The stars are too bright; they pierce my skin," and "Is there no one to say my mouth tastes like Hawaiian flowers?" She is continually "taunted by the moon, the stars, and the rising sun," and her constant gazing into the universe for life's answers soon becomes tiresome. Even if she is a hopeless romantic who has been touched by an angel, the overly romanticized lines give her despair a shallow and insincere ring, in spite of solid acting by Erica Ortega.
Laurence Ballard, no doubt remembered by ATC audiences for his brilliant portrayal of Gallimard in the superb 1992-93 production of M. Butterfly, is a wasted talent in this play. He portrays the local priest, Father Steven, an underdeveloped, yet intriguing character that, because of Ballard's ability to act every scene with gentle fragility, somehow seeps through to sadly touch us.
Several other underdeveloped characters appear at the El Cid Cafe where Enrique works as a waiter and where he feels free to dream amid the Flamenco dancers and musicians. Michele Mais delivers an energetic performance as Evelina, the owner of El Cid, although we never really understand where her passion originates beyond her lust for Enrique.
Yvonne Coll and Ismael East Carlo both contribute fine performances as Margarita and Enrique, and Coll, particularly, with perfectly timed delivery, takes advantage of the humor scattered throughout her performance.
The illuminating force of the play, however, must be attributed to Valente Rodriguez, the very gifted young actor who plays Cookie with great sensitivity and great humor. His skill and ingenuity bring a much needed added dimension to each scene he appears in, and fortunately he appears in many. He makes us laugh with his innocent perception and reaction to the events playing out around him, and at the same time, he arouses our compassion with his portrayal of this tender-hearted boy fretting over an unknown boy scout lost in the local mountains. We hope to see more of him at ATC.
As usual, Greg Lucas's scenic design--the family's front yard conveniently reverses to the El Cid Cafe--is excellent.
Arizona Theatre Company's production of The Old Matador continues with performances through January 28 at the Temple of Music and Art, Alice Holsclaw Theatre, 330 S. Scott Avenue. Tickets range from $17 to $26, with discounts available for senior citizens, students and military. For reservations call 622-2823. For additional information call 884-4877.
 |
 |
© 1995-97 Tucson Weekly . Info Booth |
|