La Havana Madrid

Reviewed by Dana Martin
Outside SCR at Mission San Juan Capistrano
Through August 4th

La Havana Madrid, a long-forgotten social club that turned into a ’60s social movement, finds new life in Mission San Juan Capistrano’s courtyard. Writer/performer Sandra Delgado’s play of the same name articulates both the oppression and the triumphs of Latin American immigrants who arrived in Chicago during a period of explosive race relations in the mid-20^th century.

North Chicago, 1960’s. A small-but-legendary neighborhood nightclub, La Havana Madrid is in its heyday, serving as a meeting place and refuge for Latin immigrants and political refugees as they’re forced to navigate a rough, racist and often oppressive existence outside its protective walls. Most of the characters we meet only once, their dialogue recounting their memories of the club as a social scene and political backdrop. The narrative feels more passive than it should; with some stories admittedly more compelling than others. Delgado infuses the tales of her own family’s immigration from Colombia. One of the show’s most memorable scenes reveals how her parents were married by proxy so that her mother could avoid scandal and travel to the U.S. as a married woman in order to join her father.

Delgado’s performance as the motherly, ethereal and ever-present narrator serves as a pleasant anchor. Cruz Gonzalez-Cadel’s Myrna is passionate and impactful. Luis Herrera’s silky vocals and stage presence are both on-point. As Maria, a young Cuban refugee, Maria Jimena Gastelum exudes innocence and hope for the future.

The highlight of the evening is the 5-piece salsa band, made up of Nestor Gonzalez (percussion), Jorge Ordiano (percussion), Carlos Ordiano (keyboard), Roberto Marin (bass) and a stand-out Carol Macpherson (trombone). The musicians are dynamic and versatile, moving fluidly between music styles and rather under-utilized overall. It isn’t until the end of the show that they unleash the full scope of their talents.

Lighting designer Lonnie Rafael Alcaraz successfully bridges the tricky gap from day into evening in the outdoor playing space. Jonny Martinez’ choreography is subtle and too often takes a backseat to the other performative elements. Jeff Polunas’s sound design overcomes many of the venue’s inherent obstacles and is largely successful. Efren Delgadillo Jr.’s scenic design rightfully features open space and a nice proscenium framing the playing space. Carolyn Mazuca’s costumes are clever, bright and flashy, subtly hinting at the era.

Aptly directed by Cheryl Lynn Bruce, the production is billed as an “immersive documentary theater experience” and largely exists in the liminal space between drama and musical theater. There isn’t much that actually makes this show immersive, save the actors’ dancing salsa with a few willing audience members at the show’s conclusion.

La Havana Madrid is a blend of historical facts and imagined circumstances, told through a series of vignettes that create a tapestry of stories about immigrants and political refugees from Cuba, Puerto Rico and Colombia settling into life in Chicago. While there isn’t a more idyllic setting for a production than the courtyard of Mission San Juan Capistrano, the beautiful, breezy outdoor venue often competes with the heavy intensity of the play’s message and ultimately dampens its intended impact.

Outside SCR, Mission San Juan Capistrano, 26801 Old Mission Rd, San Juan Capistrano. Wed.-Sun. 7:30 pm; thru Aug. 4. https://www.scr.org/plays/productions/22-23-season/la-havana-madrid/. Running time: One hour and 40 minutes with a 10-minute intermission.