Xavi Moreno and Cheryl Umaña in Evelina Fernández’s The Mother of Henry at The Los Angeles Theatre Center. (Photo by Andrew Vasquez)
Xavi Moreno and Cheryl Umaña in Evelina Fernández’s The Mother of Henry at The Los Angeles Theatre Center. (Photo by Andrew Vasquez)

The Mother of Henry

Reviewed by Dana Martin
Latino Theater Company 
Through April 20

RECOMMENDED

Evelina Fernández doesn’t need much drama to make her play compelling. The Mother of Henry explores a mother’s struggle to carry the burden of profound loss brought on by the Vietnam War during a time of intense civil unrest. The Latino Theater Company’s production is a historically reverent piece with an inherent sense of immediacy.

Boyle Heights, 1968. Connie Castro (Cheryl Umaña), a Latina single mother from the barrio, starts a new job just as her teenage son Henry is drafted. She resolves to appear strong but appeals to La Virgen de Guadalupe (Esperanza America) for her son’s safety and protection. La Virgen does miraculously appear — but only to serve as a compassionate guide. It’s not at all what Connie wants, but it’s exactly what she needs.

The country’s turmoil gradually comes into sharp focus and Connie finds herself protesting the war while navigating her own profound loss. She struggles, she’s angry, she sleeps with the wrong people, but finds the strength to carry on. By advocating for her son, she begins to find her own authentic voice.

Cheryl Umaña is a fierce, straightforward and relatable Connie and she works with ease. Xavi Moreno is suave and pushy as philandering co-worker Manny. Gary Patent’s office manager Herb is awkwardly endearing. Esperanza America’s La Virgen is warm and good-humored. Her sultry vocals blend well with her bass-playing angelic counterpart, Robert J. Revell. The duo provides music during the play’s many transitions with soulful renditions of songs by Sam Cooke, Curtis Mayfield and Bob Dylan.

Director José Luis Valenzuela’s clear direction extracts the full impact of the piece. Movement choreographer Urbanie Lucero helps create organized and artistically compelling transitions. Yee Eun Nam’s videography is the evening’s highlight, and elevates the quality of the entire experience. Her work feels both both epic and intimate, artful and deliberate. The use of imagery, text and audio from such a historically tragic and remarkable year is extremely effective. Complimentary lighting design by Cameron Mock.

Fernández uses gently provocative storytelling to convey the horrors of war from a mother’s point of view. Though her frequent use of magical realism is refreshing, the script is sometimes weighted down by frivolous domestic drama. The play maintains a staunchly optimistic tone despite the grim socio-political realities, and despite the difficulties Connie faces.

1968 saw both Martin Luther King Jr. and Bobby Kennedy assassinated. Nixon was elected. Civil Rights and Vietnam War protests reached a fever pitch. The Mother of Henry preaches hope and resilience in spite of gross national trauma and profound personal loss. It’s quite a lesson. So make love, not war.

And burn your draft card.

 

The Los Angeles Theatre Center, 514 S. Spring St., Downtown L.A.; Wed., 8 p.m. (4/17 only); Thurs.-Sat., 8 p.m.; Sun., 4 p.m.; through Apr. 20. (866) 811-4111 or www.thelatc.org. Running time: 90 minutes with one intermission.