Randy Vasquez, Xavi Moreno and Ruth Livier (Photo by Grettel Cortes Photography)
Reviewed by Steven Vargas
The Los Angeles Theatre Center
Through Nov. 2
Although Juan Perez (Xavi Moreno) finds himself in a snafu with a crew of problematic politicians seeking his guidance, he doesn’t correct their confusion. He follows through with a smile and leans in, offering his assistance despite being the wrong man for the job.
It’s hard to tell if he cares.
Israel López Reyes’s new play, The Little King of Norwalk, constantly grapples with the notion of “leaning in.” The world premiere production, commissioned by Latino Theater Company and developed through its Circle of Imaginistas playwrighting group, follows Juan as a DUI charge lands him in mandatory AA. But when he arrives for his first meeting at city hall, the mayor of Norwalk — desperate for assistance to get the homeless community out of the city — mistakes Juan for a powerful state inspector and lures him into the local government’s plans to rid the city of the unhoused. Juan, who once lived in his mother’s car with his sister Wendy Perez (Esperanza América), must decide whether he should respect his roots or gut them entirely for his own advantage.
The Little King of Norwalk is an adaptation of Gogol’s The Inspector General and follows a similar satirical story arc. Although Reyes does well at sticking to the beats, recontextualizing the farce to a modern-day struggle (it is based on a very recent real-life scandal when Norwalk banned shelters) requires a level of urgency that is seldom met by the leading characters. Reyes’s script is full of razor-sharp one-liners that perfectly bite the line of problematic and witty. While the play is able to provide a good laugh, its weight is rarely depicted in the characters. Soon, the laughs run stale, and Juan’s final call for change feels underwhelming and undeserved.
Despite this fault, the play smartly interrogates the rationalizations some Latinos navigate when choosing to climb the sociopolitical ladder to the detriment of their community. This take on Latinidad is nothing new (Bernardo Cubría’s Crabs in a Bucket similarly unpacks the ramifications of individualism within disadvantaged communities), but Reyes’s framing is incredibly visceral and layered. The politicians represent the outcome of such mentality, whitewashing the pronunciation of their names and using their pasts for brownie points instead of lessons. For example, there are somber undertones beneath the satirical delivery when Mayor Alvarado (Randy Vasquez) as a “homeboy from Norwalk” and Nancy Juarez (Ruth Livier) as a local “chula” reminisce on their pasts before musing on a future Norwalk without the lower class.
It makes one question how they could turn against the community that raised them — which in turn, heightens the tension surrounding Juan’s actions. Juan, who simply wants to pay the rent and afford to live, assists these same politicians in taking away the very initiatives that he could’ve benefited from growing up in Norwalk. Yet, Juan’s conflict still lacks weight because he lacks remorse.
Reyes’ script and Geoffrey Rivas’s direction are very tongue-in-cheek, often overlooking the emotional arc happening beneath the surface. There are emotionally packed scenes, but the buildup is hidden by on-the-nose humor that rarely eases when things get serious. The lack of urgency when it comes to heavier topics, including alcoholism and the threat of CPS, makes one question whether these are genuinely concerning character traits. Is Juan truly in need of that AA meeting?
The production compensates for the story’s misalignment with some spotlight performers and designers. Richard Azurdia, who plays Ricky Ortiz and The Law, is an extraordinarily dynamic performer. His mastery of vocal variety and timing makes his quips sing and characters shine. The set, designed by Maureen Weiss, is incredibly dynamic and makes each transition interesting. The space is filled with four revolving square walls that spin between scenes, allowing the performers to shape the space however they please. Paired with the lighting design by John A. Garofalo and the projection design by Hsuan-Kuang Hsieh, the world of the play smoothly transforms from a jail cell to a nightclub to a heaven-like dreamscape.
The Little King of Norwalk soars at immersing viewers, leaning into the external world of the play. However, it needs to give attention to the story within the story. During a big climactic fight between the leading siblings, Moreno performs with vigor but gets lost in the effort to depict Juan’s plight. Under Rivas’s direction, he points to various spots in the theater to indicate the location of each noun or feeling he shares. It makes it easier to comprehend what is happening inside their home, but not so much what is happening within Juan. His emotional outburst deeply contrasts with the nonchalant attitude he sustains throughout the rest of the play. Reyes and Rivas craft a great base for Juan’s story. Now, like Juan, they must lean in to uncover its emotional core.
Note: This is a review of a preview performance.
Latino Theater Company at The Los Angeles Theatre Center, 514 S. Spring St., downtown L.A. Thurs.-Sat., 8 pm, Sun., 4 pm; thru Nov. 2. https://www.latinotheaterco.org/littleking Running time: 90 minutes, no intermission.
