November 05, 2008, 6:16 p.m.
CHUCK GRAHAM
Tucson Citizen
Wordy but worthwhile. That would be the three-word review of Gavin Kayner's new play "Noche de los Muertos," receiving its world premiere at Beowulf Alley Theatre. This tale of tortured conflict takes place in Mexico on Nov. 2, 1927.
It is the traditional Day of the Dead in a year of religious revolution for Mexico, so there is lots of historical information to absorb before the end of Act One. After intermission the pace picks up considerably, and so does the tension.
In 1917, we are told early on, the Mexican government decided to make a clear separation between church and state. As you might imagine, this didn't sit well with the Catholic Church. But the decision didn't sit well with many of the people, either. They wanted the church to stay in charge. Especially those villagers who depended on their priests for guidance on many aspects of daily life.
Deep into 1927, this radical change was finally being implemented in Magdalena, a town famous for its shrine to St. Francis Xavier. Assigned to be sure a secular teacher gets installed in the village school is the government official Reynaldo (Tenoch Gomez).
He accompanies the young firebrand teacher Catalina (Jordana Franco). Guarding them both are two soldiers of the secular revolution, Irma (Angelica Rodenbeck) and Tomas (Esteban Oropeza). Like an army from the Antichrist, they come storming into Magdalena and confront the village priest (Anthony Auriemma).
Representing the villagers who love their priest and hate Mexico's new government is the strong-willed Palancha (Janet Henderson). She runs the tiny cantina where many of the discussions take place.
Adding atmosphere by their presence, without speaking a word, are Boneman (Caroline Latron) and a trio of identical masked figures completely in black (Rene Lopez, Sydney Flynn and Vince Flynn). Making the strongest impression by far is Boneman, wearing black formal attire with a painted white skull face, skeleton ribs and bony fingers.
Boneman maintains a bemused attitude toward all the flouncing around of these humans who are grappling with issues of morality far above their pay grade. But in the spirit of Día de los Muertos, Boneman is never scary. At times he is actually respectful of the tormented ways that these twisted souls tear at each other.
While the play is billed as a contest between church and state, it can also be seen as a brilliantly drawn schematic for the terrible things that can happen when opposing forces obsessed with being right start banging heads.
We think of the Christian fundamentalists in the United States, Muslim fundamentalists in the Middle East and the rigid governments they confront. Inevitably this is a lose-lose situation.
By placing this clash of ideas in a foreign country in a different time period, it is hopefully easier to appreciate the need for thoughtful compromise in our own country as the pendulum of extremism tries to swing back toward the middle.
Sheldon Metz directs the Beowulf Alley production. Though the cast's performances feel sincere, some are more effective than others. All the characters could use more shading of expression instead of just standing and shouting their lines.
But there is also wisdom in the writing. As a work in progress, "Noche de los Muertos" will be a full plate of ideas for theatergoers who take the time and have the patience to fully digest each scene.
