Paloma

Mounting plays dealing with traditional topics is fairly easy, but this story takes tradition and turns it topsy-turvy, leaving one to wonder the genus of the play.

Set in a contemporary Hispanic household, the Hudson Backstage examines the ultimate sacrilege of a Hispanic woman abandoning her children and husband in favor of drugs, sex and rock and roll. Some would argue that’s not a bad exchange, except that in a culture where motherhood is the essence of womanhood and children are the pivotal element in their lives, it’s hard to believe a mother walking out on her family. It’s as unimaginable as a Republican espousing abortion; it’s worse than a teen-ager agreeing with the parents; it’s as unheard of as a priest committing adultery – OK maybe that’s not a good example, but you get the point.

Natasha Perez Daniel Edward Mora

So Paloma leaves the family, and husband Enrique brings in a live-in housekeeper who does all the wifely chores (eventually doing ALL the wifely chores) and nine years later Paloma decides to return, asking forgiveness, as if what had happened was just a little lighthearted whim. The kids are confused, the housekeeper is jealous and the husband is saying “Hallelujah” – two women in the same house wanting the same thing!

But he’s not really that type of guy and can’t seem to rise to the occasion with Paloma. When she realizes it isn’t going to work, she makes a decision that eventually benefits everyone.

What makes this presentation unique is the combination of songs and music that flow behind the story. Patrick Reese, as a roving Troubadour, sings a “corrido*” throughout the story, (in Spanish), filling in the gaps in the story, and as the events develop, the characters all have a song or two dealing with their current dilemma. The original song lyrics include some Mexican style, some bluesy, and even though the words often strain to fit the rhythm and meter, they are effective and keep the energy high.

Patrick Reese - The Troubadour

Samuel Irving Monterroza and Yolanda Romersa

Working with kids has to be tough, since they tend to steal all the scenes, and here Stephanie Lopez and Samuel Irving Monterroza do an excellent job playing the bickering siblings; he's a young teen flirting with joining a gang, while she tiptoes nervously from an eleven year old into young womanhood with mixed signals from Paloma and housekeeper Maria. The inclusion of drugs and gangs into the mix may have some people arguing that this is stereotypical, as the young boy's rage

at not having a mother manifests itself in a deep seated need to belong to something- or someone. By contrast the little girl immediately accepts the mother, leaving a huge question mark about her real feelings for Maria, who literally raised her.
Daniel Edward Mora plays the father Enrique with credible confusion, never sure if he really loves Paloma or really hates her. He manages some excellent scenes showing how concern for his kids can be in conflict with his feelings, but we are bothered by how easily he was willing to dump Maria when he thought that things could work out with Paloma.

Can you spell B - E - T - R - A - Y?

Housekeeper Maria is drawn as meek, accepting and complacent, compliant about whatever will happen without putting up much of a fight. One wonders how committed she is to Enrique and the kids as played by Natasha Perez who brings a casual empathy and conviction to her character.

However, actor/producer Yolanda Romersa is so good as the errant wife, you dislike her immediately. Never mind her explanation for coming back. This woman is a selfish opportunist and Enrique should have kicked her out the minute her nose hit the door. She tries to play the pity game, but her previous nine years of depravity cancel out any sympathy one might have.

The action is enhanced by the sprawling set by Matthew Scarpino, that includes a full kitchen, (usually being the nucleus of family gatherings) and a modest living room. Though the music is prerecorded, William House makes it fit perfectly with the songs, and careful light cues designed by Christian Smith, add to the dramatic effect. The first act may be bit longer than it should, and the end feels ragged, with the actors sort of spilling onto the front stage to take their bows. But overall, director Vetza manages some dramatic moments that provide food for thought.

Now all we have to do is figure out what author Lina Gallegos wants the audience to take with them as a result of this play. Is it that there are some bad Hispanic Moms? Is it that not all Hispanic dads get drunk and disregard their kids? Or is it that with proper contrition forgiveness is possible even for the dastardliest acts? You’ll have to see the play to decide for yourself, and don’t worry about not speaking Spanish. The management wisely distributes a song list with the translations, so you can get the gist of what they are singing.

But then, if you’re paying attention you can figure out that the songs have the four universal song themes: 1) “my baby left me . . .”, 2) “ my baby is going to leave me . . . “, 3) “I ain’t got no baby . . .” and 4) “If I had a baby, I wouldn’t know what to do”.

The production continues through December 21, 2003.

Comments? Write to us at: Letters@Reviewplays.com

* Corrido = A story told in song - usually tells of the adventures or deeds of a famous or infamous person.

Hudson Backstage

6539 Santa Monica Blvd

Los Angeles, CA

Tickets at: (323) 960-7785