Maribel Chavez and Angel G Molina (Photo by Darlene Sanchez)
Reviewed by Martίn Hernández
La Puente Community Center
Through December 17
RECOMMENDED
Set among wealthy street gangs in modern day East Los Angeles, playwright Alex Alpharaoh’s and director Blanca Espinoza’s adaptation of William Shakespeare’s tragic romance explores themes of domestic violence, drug abuse, and gang rivalries. Using a mix of professional actors and students of the No Fronts Actors Workshop, Espinoza draws rich performances from them all for a forgivably uneven and overall satisfying production, with flamboyant costumes, intense fight scenes, and ribald humor. It is also refreshing to see such a robust celebration of a subculture long vilified by some in the Mexican American community and in the mainstream media.
The intense conflict between the Montagues (Louie Soto and Gaby Maldonado) and the Capulets (Jason Solano and Lety Garcia) results in another rumble between their respective homies, drawing ire from Prince Escalus (Fernando Arredondo), the jefe del barrio. Escalus vows that any more chingasos between las familias will result in death for those involved. But when the Montagues’ son Romeo (Angel Molina), his cousin Benvolio (Robert Anaya), and his homeboy Mercutio (Jaclyn Gomez) crash a Capulet parranda, tensions rise between them and Tybalt (fight choreographer Peter Mendoza), Juliet’s favorite cousin. When Romeo and Juliet (Maribel Chavez) meet cute at the party, los enamorados risk an even bigger beef for their star-crossed love, y pues, you know the rest.
Molina’s intense delivery enhances the credibility of Romeo’s passion for Juliet (yet at times results in rushed line readings) Chavez is a forceful Juliet not content to be just a random vato’s plaything. Together, the two demonstrate a playful and tender chemistry. Taking the edge off the tragedy is Brenda Banda’s turn as Juliet’s brassy Nurse, whose maneuvering of a billowing and oversized gown offers abundant moments for slapstick. Gomez as Mercutio — sporting an intensely outsized mohawk haircut — is also a deft arbiter of Shakespeare’s bawdy jokes.
Performed in an outdoor amphitheater, Mendoza’s adroit fight choreography makes good use of the large space, with actors jumping off the stage, barreling through the aisle, and banging off metal banisters. Designer Rio Uribe’s innovative costumes — such as elaborate gowns and robes made with flannel material, Tybalt’s blazing red zoot-suit, or Juliet’s pleated and gleaming pants — effectively convey the pachuco aesthetic of flair and elegance.
Alpharoah interweaves contemporary Chicano slang — much of it poetic — into the Shakespearean dialogue (The term “moon chola” is one such gem ). His references to familiar Eastside sites, like White Memorial Hospital and the Sixth Street Bridge, drew knowing laughs from audience members.
No Fronts Actors Workshop is an effort by Espinoza, Alpharoah and others to advance the performing arts in marginalized neighborhoods. so this is the first time on stage for some in the cast (a few of whom are former gang members). At the heart of that mission is love for family, respect for community, and loyalty to friends, all of which are on display in this pretty firme show, ese.
Note: Some roles are double cast.
La Puente Community Center, 501 Glendora Ave, La Puente; Fri.-Sat., 8 pm, Sun., 2 pm and 7 pm; through Dec. 17. https://www.cholavision.com/ Running time: two hours and 20 minutes with a 15 minute intermission.
