What I liked
A few more rehearsals and I am confident the actors would not be stumbling over lines, so I’ll chalk that up to the enormity of the project, because generally their intentions are clear. The blocking/choreography often did little to fuel the urgency or tension of the piece, so the acting ranges from meh to marvelous, with particular salutes going to Roberto Arrizon (Carlos) for driving energy, Daniela Lugo (Perdita) for organic movement and verisimilitude, Carlos Campos for a commanding presence as El Jefe and a compelling performance as Burgos, a prisoner who faces upstage for the entirety with a cloth over his head.
A nod to the scenic designer, who, from my beautifully informative program, appears to be Eduardo Vega, who also serves as playwright, director, and wonderful actor of multiple roles.
I salute this brave kraken and the whole cast who set out to slay the beast.
What I didn't like
“It doesn’t know it’s already dead.” -Act 1
Poignant prose mixes with clumsy back-and-forth retorts. Around and around we go with the same argument on rote for 160 minutes. This theatrical opus shines a light on a dark, thrown-under-the-rug volume of history and I am humbled to be educated by this inspired-by-true events story. But perhaps a one-two punch would have ignited a brighter fire in this crusty critic’s heart instead of a slow bleed out.
My overall impression
A valiant effort of a noble undertaking unfolds with the support of a large ensemble in this verbose opus.
