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Properties of Silence
Reviewed by Jessica Salans
About… Productions
Through March 29
RECOMMENDED:
Properties of Silence has played three times prior to its current production in the Carrie Hamilton Theatre at the Pasadena Playhouse. In 1999, it received a premiere at the 2100 Foot Theatre (now “The Reimagined Life” acting school) in Mid-Wilshire. In 2003, it was presented at the L.A. Philharmonic as a staged reading and just last year it was a part of the AxS Festival, a two week city-wide festival, produced by the Pasadena Arts Council which explores artistic and scientific inquiry.
This magical realism in the play reverberates the AxS Festival’s mission, exploring poetry, science and universal creativity through the lens of two women each seeking meaning in their lives. Sor Juana Ines de la Cruz, a literary figure known for her secular plays and poems in 17th century Mexico, finds herself, dreamlike, in the modern day Phoenix home of Barbara, who has strayed from her to-do list and is lost in more ways than one. The subtlety of Akeime Mitterlehner set and the opposing forces of warmth and electric blue from Pablo Santiago’s lighting, make the transition between centuries seamless; we do not need to know what exactly is occurring, who is dreaming of whom, but instead can be entranced by the coaxing nurture of the two women, working towards their hearts’ desires.
Rose Portillo, who has played Sor Juana in all four productions, is beautifully present in her struggles for self-expression. Elizabeth Rainy has excellent comedic timing as the turned-around Barbara, and the two women have a penetrating, vulnerable chemistry. As actors, they simply allow themselves to be seen as living beings on the stage. They create a fun, theatrical polarity as their characters strive to see themselves.
Kevin Sifuentes alternates between the centuries, playing Tom, Barbara’s salesman husband, and Miranda, a man of the church threatening to silence Sor Juana’s pen. Sifuentes offers a deft performance as his characters serve as adversary-in-residence. He challenges a major focus of the play (and the primary work of Sor Jauna) – La Respuesta – the defense for women to pursue knowledge.
The text, co-written by Artistic Director Theresa Chavez, Portillo and Alan Pulner, is at times quirky (Barbara and Tom have intricate discussions with the table and supperware) and often laced with earthy, poetic imagery. “You can’t step in the same river twice” and Barbara’s ascent into a woman on fire- like a phoenix rising from the ashes- are two repeated, extended metaphors. The production, and it’s previous installments, moved me to think of theatre, particularly in Los Angeles, as a blazing bird rising from the heat of its hardships. In the current, fueled discussion about the actors’ trade union, Actors Equity Associations, and it’s plans to dissolve the current 99 seat plan, Los Angeles has an opportunity to reignite itself, to re-validate its value of self expression, to reinvigorate its strength and to defend its role as an incubator of creative exploration.
About…Productions at The Carrie Hamilton Theatre at The Pasadena Playhouse; 39 S. El Molino Ave., Pasadena; Thurs.-Sat., 8 p.m.; Sun., 3 p.m.; through March 29, https://www.aboutpd.org
