[ssba]
El Grande Circus de Coca Cola
Reviewed by Jessica Salans
Skylight Theatre Company
Through September 20
RECOMMENDED:
The audience enters the venue to see a large, wooden entryway of striped orange and yellow, the image of a grinning man beckoning patrons into the event.
Beaming smiles and bags of popcorn: Welcome to El Grande Circus de Coca-Cola, as conceived by Ron House and director Alan Shearman, as a follow up to John Neville-Andrews, Alan Shearman and Diz White’s 1973 predecessor, El Grande de Coca Cola.
The orange and yellow stripes now permeate every inch of the indoor theater space; decked with a drum set stage right, the same grinning face from the wooden door is also plastered across the bass drum. A three foot replica of a Coca-Cola bottle sits stage left where, next to it are the seats for the audience.
Two girls in sparkling, bright red leotards enter and start conversations with the crowd; they are Maria and Consuelo, eager to make you feel at home, curious about your pedigree, and desirous for a job beyond the circus. And then, with a piano flare and drum roll, La Cucaracha opens El Grande Circus.
Our master of ceremonies is Pepe Hernandez (Marcelo Tubert). He speaks entirely in Spanish, unabashed that his audience may only be able to translate every other word. He is proud of his familia troupe, enamored with Hollywood and wants to make you- his amigos, compadres, hombres – to feel right at home.
There have been complaints that this production (the sequel to a 2013 version performed at Ruskin Theatre Group) is an affront to undocumented Mexican-Americans, whom it impersonates, that it is belittles a group of people already under siege in this country. But I would counter the show is largely a parody of those bigoted attitudes. As such, the production is hilarious, uproarious and brilliantly executed. It straddles two worlds: that of the circus, where personalities are larger than life, while at the same time making references to our modern day world.
The performers portraying Pepe’s familia are committed and intensely talented, with impeccable comedic timing. Juan (Aaron Miller), the drummer boy without a known background, is earnest in every act he performs – even as he’s lifted from his seat, the victim of a voodoo act. Adopted Marcelo (Paul Baird) is a strapping lad, at once on the piano, then the accordion, then playing the accordion while riding on a unicycle. Maria’s (Olivia C. Delgado) mugging is right on point; ridiculous with control. Consuela (Lila Dupree) maintains the most steady demeanor of the lot, which only heightens her risible exploits (such as an absurd reenactment of Swan Lake or an attempt at aerial silks).
There are a dazzling amount of costumes, designed by Sarah Figoten, John Iacovelli’s set transports you, lights and sound by Jennifer Edwards and Jeff Garner, respectively, aid the theatricality while choreography by Tor Campbell and Shearman’s direction are seamless.
The ensemble has a mastery of precision, keeping you on the edge of your seat all night- unless you’ve already fallen off from laughter.
The Skylight Theatre, 1817 ½ N. Vermont Ave, Los Feliz; Fri.- Sat, 8:30 p.m.; Sun., 3 p.m.; through September 20; https://skylighttheatrecompany.com/
