TuYo Theatre kicks off the theatre year with Bernardo Cubria's "The Hispanic /Latino /Latina /Latinx /Latine Vote"

Directed by Patrice Amon, the play dives into the human psyche with interesting juxtapositions.

by Alejandra Enciso-Dardashti

Photo by Josie Gonzales

Here we are again, kicking another year of theatre, and for me, and in this case, personally, what a fantastic way to start than seeing a piece by Mexican playwright Bernardo Cubria. I read somewhere that Cubria is "Houston born," but no. Bernardo is Chilango, directly from Mexico City. I came across his work in 2023 with Crabs in a Bucket, a world premiere produced by Echo Theater Company in Los Angeles. The Rolling World Premiere of The Hispanic/Latino/Latina/Latinx/Latine Vote happened at Theatricum Botanicum in Topanga Canyon last year. I was happy to learn that TuYo was part of the premiere dynamic, and they had it set for San Diego.

University Professor Paola Aguilar (Alejandra Villanueva), who specializes in LatinX studies, is in great debt from years of fertility treatments. When THE Political Party offers her a position with a hefty paycheck in exchange for helping them navigate The Hispanic/Latino/Latina/Latinx/Latine Vote, Paola sees no option but to accept. The Party advisors led by Kaj (John D. Culver) are Nicola (Nancy Batres), a first-generation American with a Cuban father, Rebecca (Kylie Young), white and WOKE because she learned Spanish in Venezuela, and Bernard (Kevane Coleman), the only African-American LGBTQ+. The group brings Paola up to speed with statistics and desired goals, starting with interviews with community members led by her. As she is navigating hormone stimulation and embryo creation, Paola faces another reality that is filled with stereotypes and truth to re-discover her identity and what she really needs out of life. 

 Photo by Josie Gonzales
Cubria's writing goes deep into the psyche. In this play, the juxtaposition between U.S. elections, politics, and female fertility hints at what has happened since Roe v. Wade was overturned. On the one hand, miscarriages, infertility, and not talking about it are real, so to shine a light on them feels comforting. There is such specificity in the scenes that it made me prompt the now infamous "if you know, you know" phrase by Jlo. On the other hand, race, ethnicity, and labels, topped off with the identity insecurity bow, are also real in this country. The playwright explores these topics through a unique POV, and this type of writing matches well with Patrice Amon's direction style as the subject matters are tender and handled with precision, care, and just the right dose of comedy, along with its flawless timing. There is a balance in having the play written by a man and directed by a woman, as it should be, right? However, in this play specifically, there has to be a balance. 

Happening at Bayfront Charter High School in Chula Vista, the play's set and props by Samantha Rojales consist of a whiteboard, wooden boxes made out to look like cardboard boxes, and a multi-use desk/transformer contraption that displays immaculate carpentry by John Spafford. Some projections complement audience interaction and participation with Alejandra Villanueva, who carries the show with good rhythm and quick ad-libs. Eliza Vedar's sound pumped key moments, enthralling the suspense and sometimes the anxiety. Villanueva was part of The Henry 6 Corps at The Old Globe last year, and it is good to see her in the lead.- It is about time, too-... John D. Culver has good stage chemistry and prompted his fellow actors. Nancy Batres, who was in Pásale, Pásale, last year, has a crescendo in the role of Nicola with a paced start that went full throttle. I would loooove to share why and how, but then I get complaints about spoilers in my views, so... all I can say is that Batres is FUNNY and won the audience over. Kylie Young delivered an authentic Rebecca with ongoing reminders of her Spanish-speaking self and on-point side-eye, having moments with the audience. I could also see these nods from Amon's direction as this play is interactive and constructive, encouraging reflection. Young is a trained performer who sings and dances; I hope we see more of her work this year. The same goes for Kevane Coleman, giving momentum in each line as Bernard while engaging with fellow actors. Roberto Castillo Jr. is the histrionic wild card playing surrounding characters like the doctor, the Gesell chamber interviewees, and donor candidates. Castillo Jr. is fun to watch and gives layer over layer, going from character to character.

 Photo by Josie Gonzales

Carmen Amon's costumes contoured each of the personalities, going from pants and a blazer for Paola to a flowy long skirt with a very cute belt clutch for Nicola, chunky loafers and checkered button-up dress for Rebecca, sweater, and pants for Bernard, and a full suit for Kaj. There is a playfulness with patterns, which was noted and appreciated, as it is always fun to see a good contrast. 

The one-act, no-intermission piece holds many feelings and questions that reach a catharsis. In these times when the new government will start office, the LA fires are happening with speculation and heartache in between; most of it comes down to us citizens. Each person is part of a community and, as a whole, accompanied by the questions, "What are we doing?" and "Is it enough? Or just the bare minimum?".

Currently playing in Chula Vista until January 19th. For more information please click HERE.

No comments:

Post a Comment