PICK! ASR Theater ~~ Theater and Politics Send-up: “Mondragola” at CentralWorks

By Susan Dunn

Gary Graves new play sends up both theater and politics where the stakes couldn’t be higher.

Niccolo Machiavelli is commonly known as the cynical and amoral philosopher of politics from his signature work, “The Prince” (Il Principe). Who would guess that Machiavelli, living the good life as Secretary in the Medici government for many years, would be exiled and forced into writing saucy comedies to eke out his living?

 taps every production’s nightmare…

Mondragola (Mandrake) takes its name from a farce Machiavelli wrote in exile, along with “The Prince”, while hoping to return to the Medicis’ good graces and the sustenance of government life. On opening, Machiavelli, handsomely played by Rudy Guerrero, describes how critical this play performance is to his future career. He hopes that the Cardinal who will be in attendance and loves comedies, will be so impressed that he will commission him to write a history of Florence, but his actors have fled with the production money, and it’s eight hours to showtime!

(l to r): Battista (Edwin Jacobs) and Zenobia (Monique Crawford) agree to perform in Niccolo Machiavelli’s silly comedy. –At TheaterWorks

In desperation, he cajoles his gangster producers, Battista and Luigi, into covering as actors, along with the revolutionary Zenobia, girlfriend to Battista. This works as the joke of “taking actors off the street” almost literally. As the drama “to pull the drama off” continues, another drama—of revolution and murder—is organized behind Machiavelli’s back. As he tries frantically to get the actors to learn their lines and rehearse, we discover the printed scripts have only each separate actor’s lines. Without cues, they must memorize without context. And since they are non-actors, they make up their own words, to the fury of the playwright.

Mondragola taps every production’s nightmare, and giving more of the story would be a spoiler. But a fine cast of individuals brings out individual personalities. Edwin Jacobs as Battista is a slick hoodlum and secret revolutionary who pulls off his many faces of bravado and bewilderment with finesse. Monique Crawford is imperious as a committed political rebel and activist, while Steve Ortiz, as Luigi, the crazed, crazy and hilarious thug/sidekick can talk his way out of anything.

Florence, 1522. Fifty years before Shakespeare: Niccolo Machiavelli, author of “The Prince” – the infamous “handbook for tyrants”- has returned to perform his silly comedy “Mondragola” for the Cardinal de’ Medici.

The four actors address all three wings of the “in the round” arena stage with great skill and breathless pace thanks to Jan Zvaifler’s direction. It all made sense and played to every part of the house. A special treat of this production is Gregory Sharpen’s sound design, which expands this trim conceit of four backstage actors to Machiavelli’s actual play going on outside.

The feast in Mondragola is historical, theatrical, political and comedic. There is also a large dose of irony at the play’s end, with each actor finding a new end or a new beginning, depending on the circumstances. Recommended for those who like a big meal served in a short space of 65 minutes.

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Since arriving in California from New York in 1991, Susan Dunn has been on the executive boards of Hillbarn Theatre, Altarena Playhouse, Berkeley Playhouse, Virago Theatre and Island City Opera, where she is a development director and stage manager.

An enthusiastic advocate for new productions and local playwrights, she is a voting member of the SF Bay Area Theatre Critics Circle, and a recipient of a 2015 Alameda County Arts Leadership Award. Contact: susanmdunn@yahoo.com

ProductionMondragola
Written byGary Graves
Directed byJan Zvaifler
Producing CompanyCentral Works
Production DatesThru Apr 16th
Production AddressBerkeley City Club
2315 Durant Ave, Berkeley, CA 94704
WebsiteCentralWorks.org
Telephone(510) 558 -1381
Tickets$35 - $40
Reviewer ScoreMax in each category is 5/5
Overall4.5/5
Performance5/5
Script5/5
Stagecraft4/5
Aisle Seat Review Pick?YES!

Other Voices…

"Playwright Gary Graves has taken facts about Machiavelli and added his own creative twist in a fascinating play..."East Bay Times
"...history’s most famous political strategist...finds himself a pawn in someone else’s gambit. But some tricksters don’t know about Machiavelli’s past life..."San Francisco Chronicle

ASR Theater ~~ A Family Divided: “Dreaming in Cuban” at Central Works

By Barry Willis

Political differences have shattered families and friendships since the dawn of history. Cristina Garcia’s “Dreaming in Cuban,” by Berkeley’s Central Works through July 31, examines the impact of the Cuban revolution on a family irreconcilably divided by the event and its ideology.

The time is 1979-80. Mary Ann Rodgers stars as Celia del Pino, a true-believer revolutionary whose two adult daughters have gone in vastly different directions. One, Lourdes (Anna Maria Luera) left Cuba to open a successful bakery in Brooklyn, NY, while her rudderless sister Felicia (Natalia Delgado) chose to remain on the island. Among the many “gusanos” (worms) allowed to depart in the wake of the revolution, Lourdes is adamantly pro-capitalist and anti-communist. Her mother is the opposite, with a near-religious faith in Fidel Castro and his cause.

Central Works has a tradition of performing new plays…

Living far apart, they’ve had little communication until the sudden death of Felicia brings Lourdes and her artistic teenage daughter Pilar (Thea Rodgers) back to the island for the funeral. The story of the two sides of the family unfolds in parallel, going back and forth between Lourdes/Pilar and Celia/Felicia.

Pilar proves to be one of the script’s most interesting and most malleable characters, with the biggest character arc. As a teenage lefty, she has doubts about the benefits of capitalism and some sympathy for the social experiment taking place in her ancestral homeland, somewhere she’s never visited until late in the tale.

Mary Ann Rodgers as Celia, Anna Maria Luera as Lourdes

In significant ways “Dreaming in Cuban” is told almost passively from Pilar’s point of view, and more assertively from the perspectives of Celia and Lourdes. Familial love runs deep, but not deep enough to fill the divide between those on opposite sides.

Pilar’s starry-eyed fascination with the revolution is tempered by a few days in Cuba. She’s the delicate suspension bridge between two previous generations. No longer enamored with communism, she comments near the end of her visit: “Utopias have a terrible track record.”

Working in a small space in the Berkeley City Club, Julia Morgan’s beautiful old building on Durant Avenue, Central Works has a tradition of performing new plays with almost no set, relying instead on a few essential props, some projected images, and great sound design by Gregory Scharpen, almost compensating for the emptiness and constraints of the space.

The cast at work in Central Work’s “Dreaming in Cuban”

The performers in this production are generally quite good, especially Rodgers, Rodgers, and Luera. Eric Esquivel-Guiterrez does a nice turn as Max, Pilar’s Brooklyn-based musician boyfriend, and as Ivanito, Felicia’s son. Steve Ortiz appears in two minor roles, and voices a couple of announcers.

Developed from her novel of the same name, and directed by Gary Graves, Garcia’s play has enormous potential, not fully mined in this production. The near-total lack of set requires the audience to do an unusual amount of filling-in-the-blanks that isn’t counterbalanced by impassioned performances and excellent sound design.

Theater goers may find a lot to like in “Dreaming in Cuban,” especially should it be undertaken in a larger venue. The City Club production won a “Go See” recommendation from the San Francisco Bay Area Theatre Critics Circle.

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Aisle Seat Review NorCal Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: barry.m.willis@gmail.com

 

 

 

 

 

 

 

 

 

 

ProductionDreaming in Cuban
Written byCristina Garcia
Directed byGary Graves
Producing CompanyCentral Works
Production DatesThru July 31, 2022
Production AddressBerkeley City Club
2315 Durant Ave, Berkeley, CA 94704
WebsiteCentralWorks.org
Telephone(510) 558 -1381
Tickets$22 - $40
Reviewer ScoreMax in each category is 5/5
Overall3/5
Performance3.5/5
Script3/5
Stagecraft2/5
Aisle Seat Review Pick?---