'Very Old Man' at CTC True to Latin Culture
Wednesday 18 September @ 09:50:50 |
 by Dwight Hobbes
The Children’s Theatre Company has been less than wholly effective in its attempts to reflect cultural diversity. This is not surprising. Nor, however, is it an indictment. CTC is, after all, a white theater and, therefore, most knowledgeably adept at, well, white theater. The black caricatures which marred “Boundless Grace,” for instance, were not attributable to any sort of minstrel mindset on the part of artistic director Peter Brosius but to the fact that he, quite understandably, assumed the black director he entrusted would treat the material respectfully and render it palatable to not only white audiences but black audiences as well.
Similarly, the extent to which non-white sensibilities have been incorporated has been limited to black stories and the color-blind casting of actors of color in white stories. While such casting is hardly the most creditable means of inclusion, it certainly is more honorable than hiring exclusively white casts. Especially since, unlike, say, the Guthrie Theater’s Joe Dowling, Brosius has not simply been making token gestures or indulging a delusion that people who aren’t white should pretend they are. One would indeed be hard pressed to cast legitimate aspersions on CTC’s integrity. The venue has sustained a highly laudable good faith effort to noteworthy avail as evinced by shows like “Once On This Island” and “The Beggars’ Strike.” It has been, to coin the old phrase, a credit to its race.
Taking an important step, Children’s Theatre Company has expanded its scope to include the work of internationally renowned Latino author Gabriel Garcia Marquez, specifically the world premier of his profoundly enlightening tale for children, “A Very Old Man With Enormous Wings.” Adapted to the stage and choreographed by Nilo Cruz and directed by Graciela Daniele with set design by Christopher Barreca and music by Victor Zupanc, this production does the material proud, retaining absolute cultural authenticity.
On a quiet evening in a Caribbean village, the moon glides across the heavens, a bit too close to the earth, illuminating ,along with the impoverished life of friends, family and neighbors, more than a few not quite beauteous aspects of humanity. In addition to vitalizing vagabonds as it stirs up bad weather, La Luna strands a strange creature in one household’s backyard, a very old fellow who just happens to be sporting a pair of gigantic wings. Two children, Fefe and Momo, come upon him and, though frightened at first, soon sense — as only innocents can — that he hasn’t a harmful bone in his body. The fact that he can’t speak doesn’t keep them from understanding him and eventually realizing an angel has fallen in their midst. Grown-ups then do what grown-ups do best, messing up a miracle with their self-centered needs and desires. Holding the old man literally hostage to notions of how to have him suit their interests, they lock him up in a chicken coop for a cash-on-the-barrel, prayer-answering freak show. As only the best storytelling can do, base tragedy gives way to a triumphant lifting (and hopefully an evolution) of the human spirit. The closing moment is nothing less than heart-stirring, a telling testament to the wonder that abides in the nature of children who, as no one can deny, ultimately are our saving spiritual grace.
Gerald Drake (“Alice In Wonderland,” “The Lion, the Witch and the Wardrobe”) leads a largely engaging cast as Afar (the angel), silently embodying the sweet soul, itself. Austene Van Williams Clark (“Smokey Joe’s Cafe”/Hey City Theater, “Blues for an Alabama Sky”/Penumbra Theatre), who sang, danced and acted up a radiant storm in “Once On This Island” returns to CTC in fine form as Elisenda, a loving mother who hopes the angel will aid her ailing infant. Accomplished veteran and company member Marvette Knight (“Dr. Seuss’ How The Grinch Stole Christmas”, “Many Colors Make The Thunder King”/Guthrie Lab) bolsters the ensemble. Young Nathan Barlow does well quite beyond his years, effortlessly charming as Momo.
It’s too bad the Children’s Theatre Company has discontinued its pay-what-you-can performances. Many of Minneapolis’ and St. Paul’s vast Mexican populace, can’t afford theatre tickets. Accordingly, there are families who would intrinsically relate to the production and, importantly, parents who’d love to bring their kids to such a show.
“A Very Old Man With Enormous Wings” runs in repertory with “A Year With Frog and Toad” through October 19 at Childrens Theatre Company,2400 Third Avenue, Mpls. Box office: 612-874-0500.
|
|
 |
|
