Review: Freedom, NY (Teatro Vista)

     
     

Subtle play offers powerful epiphanies of diversity and trust

     
     

(from left) Cheryl Lynn Bruce is Justice Mayflower, and Desmin Borges plays Gabriel, in Teatro Vista’s world premiere of Jennifer Barclay’s Freedom, NY.  (Photo: Eddie Torres)

  
Teatro Vista presents
   
  
Freedom, NY
  
  
Written by Jennifer Barclay
Directed by Joe Minoso
at Theater Wit, 1229 W. Belmont (map)
through June 12  |  tickets: $20-25  |  more info

Reviewed by Lawrence Bommer

America is always struggling to change immigration into integration. But not all the battles are fought at frontiers. Far from any border patrols and electric fences, Freedom, NY depicts a less violent but more common interracial conflict. Presented with warmth and finally crowned in concord, Jennifer Barclay’s new play focuses on next-door neighbors, two black and one Latino. Here a psychological border, the kind we carry wherever we go, must be overcome before misunderstandings lead to worse.

(from left) Paige Collins is 12-year-old Portia, and Cheryl Lynn Bruce plays Portia’s grandmother and protector Justice Mayflower, in Teatro Vista’s world premiere of Jennifer Barclay’s "Freedom, NY." (Photo: Eddie Torres) The play’s divisions between neighbors—and members of minorities–are more mental than physical. On one side Mayflower, a flinty African-American justice of the peace, tends her marigolds and protectively isolates her 12-year-old granddaughter Portia against all adversity. A year ago, a school shooting and a child abduction persuaded Mayflower to cut Portia off from the outside world. (Apparently, Mayflower’s tough-love approach already frightened off her daughter, who fled to Nebraska.)

Symbolizing that outside world is newly arrived Gabriel, a recent immigrant who works as school janitor, hoping to save enough to bring his family from Mexico. Meanwhile, he brightly decorates his bare yard for the “Dia de Los Muertos,” where he will symbolically bury his mother. (She had dreamed of coming to Freedom but wasn’t able to make it alive.)

Telling Gabriel that the neighbors “don’t like how you look,” Mayflower puts up a fence between them as we wonder what it will take to get her to take it down.

The economically written, 80-minute drama depicts how Mayflower, less accepting than curious and pent-up Portia, overcomes her xenophobia and distrust of diversity. She finally realizes that Gabriel is not connected with child abductions or illegal burials. There are no world-shaking revelations here. What we see, honestly and persuasively, are just quiet efforts to preserve decency despite change. These shape the world more than elections or even revolution.

Minoso’s sensitive staging builds tiny epiphanies into moments of truth that cumulatively matter. Cheryl Lynn Bruce plays stubborn but well-intentioned Mayflower with tough tenacity and enough defensiveness to show she’s human beneath her fear. Desmin Borges’ Gabriel, almost too vibrantly colorful for the conditions, brims with open-hearted trust, even as his apostrophes to his dead mother question his stability. Most amazing is the awesomely natural performance of Paige Collins as questioning Portia. She represents America’s future, when we finally prove that, yes, Rodney King, we can all get along.

  
  
Rating: ★★★
  
   

(from left) Paige Collins is Portia, and Desmin Borges plays Gabriel, in Teatro Vista’s world premiere of Jennifer Barclay’s "Freedom, NY".  (Photo: Eddie Torres)

Teatro Vista’s Freedom, NY continues through June 12th at their new venue, Theater Wit (1229 W. Belmont),  with performances Thursday, Friday and Saturday at 8pm, Sunday at 3pm.  Tickets are $25 ($20 for students and seniors), and can be purchased by phone (773-975-8150) or online at teatrovista.org. Freedom, NY runs approximately 75 minutes.      All photos by Eddie Torres.

  
  

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Review: “The Elaborate Entrance of Chad Deity”

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Victory Gardens and Teatro Vista presents:

The Elaborate Entrance of Chad Deity

by Kristoffer Diaz
directed by Eddie Torres
thru November 1st (buy tickets)
reviewed by Catey Sullivan 

Midway through rehearsals for The Elaborate Entrance of Chad Deity, actor Christian Litke took a foot to the face that landed him in the emergency room, suborbital socket bone beneath one eye pulverized. Opening night, he went on with a Technicolor shiner you could see from the back row. Per Kristoffer Diaz’s strict must-not-look-like-fight-choreography stage directions, Litke proceeded to take another half a dozen “camel kicks” in the kisser – as well as a few spine-rattling power-bombs. As it is in real life, the professional wrestling world depicted in Chad Deity is a brand of fakery that’s truly brutal.

Chad-Deity-1 While audiences aren’t apt to suffer physical damage like Litke, The Elaborate Entrance of Chad Deity is a knock-out victory of equal parts brains and brawn.

Power-bombs (wherein one’s spine hits the floor at a velocity surely spines were not intended to withstand) and lightning-quick roundhouses aside, Diaz’ ground (and bone) breaking take on the world of professional wrestling isn’t rooted in violence for the sake of shock, although it’s plenty violent and often shocking. It doesn’t traffic in the pandering stereotypes that fuel the WWE, although it uses those stereotypes point out their ridiculousness. This is a tale of race, racism and all-American boys grasping at the shiny, illusive brass ring of the All American Dream. It unfolds in hip-hop rhythms and is infused with some of the most politically incorrect language you’ll hear outside a meeting of the Alabama Chapter of the John Birch Society.

In director Eddie Torres, Diaz has a collaborator able to grasp and convey this incendiary material without missing a beat. The script requires a keen ear for both polyglot urban rhythms and the unctuous whitebread idiocy. Torres hears them all, and makes them resonate.

Chad Deity (Kamal Angelo Bolden , looking like the after photo in one of those back-of-the-magazine protein powder ads) is a professional wrestling champ who – as his bigot boss Everett K. Olsen (James Krag, a perfect mix of oiliness and ignorance) likes to say – makes people glad to be American. When Chad wins a fight, the terrorists lose.

But the real hero of Chad Deity is Macedonia Guerra (Desmin Borges, in a breakout performance that should have every agent in town clamoring to meet with him), aka The Mace. Macedonia’s job is to make the likes of Chad Deity look good. Stars like Chad Deity can’t exist without people like the Mace willing to act like they’ve lost every bout. Borges is a wholly endearing mix of self-deprecation and fierce pride. He knows he’s far more intelligent than his boss will ever be. He also knows that all his innate intelligence isn’t worth a slap in a world that prefers its villains and heroes in simple, black and white terms.

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So Mace suits up like a Frito Bandito outfit every fight, declares that he lives to steal American jobs and send American money back to drug lords in Mey-hee-co and lets Chad beat the crap out of him. Because when Chad Deity wins, Americans know why they’re fighting in Afghanistan, E.K. declares. To which the Mace sighs under his bright red sombrero and resignedly shakes his maracas.

For Macedonia, a way up in the wrestling world presents itself in Vigneshwar Padujar (Usman Ally), a multi-lingual Brooklyn-born Indian kid who is, no matter where he goes, “the most amazing thing in the room.” Charisma might owe Chad Deity money, but VP owns the entire fricking bank.

“I’m gonna get you a job,” Madedonia tells VP, and so begins the career of Chad Deity’s next enemy. E.K., in a move so awful it’s hilarious, has VP hit the ring as The Fundamentalist, a “Moslem” who enters flanked by women in burkas and praising Allah. In the lead up to a pay-per-view bout with Chad, the Fundamentalist beats up guys with names like Billy America (Litke, draped in a confederate flag and entering to a blast of Sweet Home Alabama) and The Patriot (also Litke, this time wearing an American flag). The fights manage to be both a tragic commentary on ugly Americans like E.K. and a wildly amusing mockery of them.

As animosity in the ring starts bleeding into real life, the dynamic between wrestlers becomes ever more complicated. As Macedonia worriedly notes, without community among in-ring enemies, wrestling gets dangerous. So as Chad and VP come to despise each other for real, the looming bout between them become fraught with the possibility of unscripted danger.

By having greased up, impossibly muscle-y men tear through the audience waving flags and shouting threats, Chad Deity manages to instigate the kind of audience participation you’d find at ringside at a Vegas championship bout. It’s wildly fun, wickedly funny and deeply provocative. In the so-called fake world of professional wrestling, Diaz captures profundity, adventure, aspirations and true triumph. The result is a theatrical prize.

Rating: «««½

The Elaborate Entrance of Chad Deity continues through Nov. 1 at the Victory Gardens Biograph Theatre, 2433 N. Lincoln Ave. Tickets are $20 – $48.For more information call 773/871-3000 or go to www.victorygardens.org.

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