Sal López in Latino Theater Company's production of Evelina Fernández’s La Virgen de Guadalupe, Dios Inantzin at the Cathedral of Our Lady of the Angels. (Photo courtesy of Latino Theater Company)
Sal López in Latino Theater Company’s production of Evelina Fernández’s La Virgen de Guadalupe, Dios Inantzin at the Cathedral of Our Lady of the Angels. (Photo courtesy of Latino Theater Company)

La Virgen de Guadalupe, Dios Inantzin

Reviewed by Lara J. Altunian
Latino Theater Company, with Cathedral of Our Lady of the Angels
Closed 

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In 1531, an Aztec peasant from Tepeyac (located in modern day Mexico City) — recently christened Juan Diego — saw an apparition of the Virgin Mary. She asked him to deliver a message to archbishop Fray Juan de Zumárraga requesting that he build a temple to honor her presence in the Americas, whereby she would bring comfort to the Natives suffering from injustice. Over the years, this Catholic story has become a pillar of hope and cultural pride for the people of Mexico. Today, its message of unity and peace creates an alternative Christmas classic, which Latino Theater Company and Cathedral of Our Lady of the Angels (COLA) present vividly in their illustrious annual production.

For those unfamiliar with the legend (or historical event, depending on your perspective) the play’s plot is based on, Cuauhtlatotzin (Sal López) was one of the first Mexican people to be converted to Christianity shortly after the Spanish Conquest. He saw the first of four Marian apparitions on the morning of December 9 and immediately went back to tell the archbishop (Cástulo Guerra), who initially did not believe him. Despite accurately describing her clothing and glowing aspect, the main point of disagreement came from the fact that Juan Diego claimed the Virgin (Esperanza América) spoke to him in his native language of Nahuatl. The second was that her physical appearance resembled his own, rather than the traditionally more “accepted” European. However, a few prominent miracles led to the Catholic Church’s official acceptance of the eventually canonized (2002) Saint Juan Diego Cuauhtlatotzin’s recollection of events as true. In the apparitions, Mary identified herself as “The Ever Virgin, Holy Mary of Guadalupe” (derived from Nahuatl’s “coatlaxopeuh” or “the one who crushes the stone serpent”). Today, her temple, the Basilica of Our Lady of Guadalupe, is among the most important Roman Catholic pilgrimage sites in the world.

Now in its 17th year, Evelina Fernández’s adaptation of Nican Mopohua (1649) — Antonio Valeriano’s Nahuatl language account of the event — has become a yuletide tradition for many Spanish-speaking Angelinos happy to witness a reenactment of the miracle in person. Starting with its source material, the pageant fully validates the Native American experience, allowing Latinx Americans to reclaim an event often white-washed by history.

Furthermore, the play honors Aztec customs by way of including spectacular dances (choreography by General Lazaro Arvizu) such as the elaborate “Tonantzin,” which honors the Nahuatl Earth mother and Aztec goddess, whom the Virgin Mary also claims to be in her appearances to Juan Diego. This dual identity is not often or widely discussed, but its revelation within the play beautifully highlights the combination of indigenous and Catholic culture within the Mexican narrative. Arvizu’s work is enhanced by his costume design based on traditional Aztec regalia, Martin Gallardo and Christopher Garcia’s Aztec drums, and Martín Espino’s indigenous music and effects.

Much of the play also includes singing. América is a standout vocalist, whose musical and acting performance bring a strong sense of reverence to her role as the Virgin Mary. Equally impressive are the choir of adults and children who represent the voice of the people. The main cast altogether does a commendable job of portraying their historical characters. López’s humility as Juan Diego comes off as genuine, and even Guerra is able to portray the doubtful archbishop with a sense of likability. Geoffrey Rivas, Xavi Moreno, Luis Lopez Aldana and Dyana Ortelli — who play three friars and a maid — succeed in their comedic roles, which help break up some of the seriousness associated with the religious retelling. Damian Delgado does a good job as Tlamantini, christened Juan Bernadino — Juan Diego’s uncle who becomes a key player in the acceptance of his nephew’s spiritual account.

Director José Luis Valenzuela does a good job of keeping the movement flowing throughout the entirety of COLA’s main room of worship — through the aisles, along its stained glass windows located on the back wall, and all across its large stage. The balance of song and dance with recitation, and the show’s interactive portions whereby the congregation sings along with the cast, keep the piece entertaining. Likewise, Cameron Mock and Emily MacDonald’s simple set and other-worldly projection designs, primarily of the Virgin’s image, elevate the production.

Every year, La Virgen de Guadalupe, Dios Inantzin (“God’s beloved mother”) is free and open to all. Although performed in Spanish, the play is made generally accessible via English subtitles projected onto the front wall of the church. The opening speeches for this two-night run sited the importance of Los Angeles’s role as a sanctuary city for the undocumented. The comparison between the country’s modern-day treatment of Mexican and Latinx people with their historical treatment by the Spanish missionaries is tragically accurate. Hopefully, through plays such as this one, more Americans will learn to embrace the cultural patchwork quilt that makes up their beloved country.

 

Cathedral of Our Lady of the Angels, 555 W. Temple St., Downtown L.A.–Civic Center; Closed. https://www.thelatc.org/lavirgen. Running time: one hour and 45 minutes with no intermission.