Displaying items by tag: Karen Zacarías

Buffalo Theatre Ensemble’s latest offering, Native Gardens by Karen Zacarias, is a riotous comedy that delves into the quirky world of suburban gardening and neighborly tiffs. The plot blossoms around two neighboring couples in Washington D.C. On one side, there's Pablo, a high-powered lawyer from Chile with a wealthy background, and his very pregnant wife, Tania, a doctoral candidate and avid gardener. They're ecstatic about transforming their new backyard into a vibrant native garden that attracts the right kind of insects that add to a healthy ecosystem. They are a younger couple, new to the neighborhood, with a bright future ahead.

On the other side, there's Frank and Virginia, a well-established couple with a perfectly manicured, non-native garden. Frank is laser-focused on winning the neighborhood's annual gardening competition. At first, the two couples get along swimmingly, but things take a thorny turn when Pablo and Tania discover that their property line extends two feet into Frank's cherished garden. This revelation ignites a full-blown border dispute, with both couples revealing their true colors as they clash over race, class, privilege, and taste.

As the conflict heats up, the play explores themes of cultural differences, environmentalism, and the challenges of living harmoniously with others. Despite the tension, Native Gardens ultimately offers a hopeful message about finding common ground. While there are plenty of profound moments that point out the short-comings and hypocrisies on both sides of the fence (pun intended), there are also many moments that share joint interests between the two couples, giving audience members the feeling that compromise, and even friendship, can be reached with a little effort once the egos are left at the door and true respect and understanding for each other is realized. 

The sparring couples are wonderfully cast - and are a hoot to watch! Richard Gomez and Sofia Tew are convincing as Pablo and Tania De Valle, each executing rapid fire line delivery with just the right amount of finesse and humor. Frank and Virginia Buckley are played by Bryan Burke and Kelli Walker and are fantastic together as the long-term residents who look to fend off the newcomers - despite the official survey findings. With no shortage of hilarious moments, this play has a lot of fun with generation gaps, culture clashes and of course the various things neighbors might squabble about. One won’t be able to help but get into the characters within the first few minutes and, like a freight train, the momentum of this play just keeps building as it goes.     

Keenly directed by Steve Scott, Native Garden’s delightful blend of humor and social commentary will have you laughing and reflecting long after the final curtain call. 

Nestled in the backyards of two Georgetown homes, each with contrasting landscaping visions that irk their new neighbors, you can only imagine the craziness that will ensue. Fortunately, there’s nothing for you to do but sit back and enjoy the garden wars!

Where: The Playhouse Theatre at the McAninch Arts Center (The MAC) in Glen Ellyn, Illinois. Additionally, the theatre is thoughtfully designed with increased accessibility features, such as elevators, wheelchair ramps, accessible seating, and assistive listening devices, making it a comfortable and inclusive venue for all attendees, including those with disabilities. Pro tip when selecting tickets - if stairs are challenging for you or your companion(s), the first row does not require any steps at all and the second row just a couple.

When: Native Gardens is running through March 2nd. 

Tickets: $44 and $42 for seniors. 

Theatre/Play Information: For tickets and/or more show information, visit http://atthemac.org/events/native-gardens/.

In Native Gardens, an ambitious young couple moves into a fixer-upper in an affluent DC neighborhood. Husband Pablo (Gabriel Ruiz) is a lawyer, his pregnant wife Tania (Paloma Nozicka) is working on her doctorate dissertation. Their nice and lively, albeit politically incorrect, neighbors are a defense contractor Virginia (Janet Ulrich Brooks) and her retired gardening-loving husband Frank (Patrick Clear). Shortly after moving in, Pablo has a bright idea to invite his entire law firm (all sixty people) to a barbeque in their embarrassingly unfinished yard, so the young couple gets to work. The old wire fence separating the neighbors’ properties (very nice design set by William Boles) has to go, but it soon becomes evident that Frank has been gardening on extra 23 inches of land that actually belongs to the new couple, according to the property plans.

Upon further calculations Pablo realizes that those 23 inches along the old fence translate into extra 80 sq feet of land which goes for “about $15,000 at a current market price”. Well, it’s a war then! Frank refuses to let go of his lovingly raised flowers right up against the ill-placed fence, while the young couple is on a mission to re-claim what’s rightfully theirs.

Who knew that an incorrectly placed fence would cause so much commotion? We all did, we saw it coming before the play even started. But despite its predictability, this comedy is still entertaining and somewhat thought provoking. Written by Karen Zacarias and directed by Marti Lyons, Native Gardens is more about generation clash, stereotypes, ageism and racism rather than the property lines. The older couple is from the pre-self-censorship era, and in their ignorance, they don’t always choose words carefully; they say what’s on their minds rather than hide behind politically correct words and ideas. But those words are often offensive to the delicate ears of Tania, whose proper opinions, frankly, make for sterile conversation, enough to put one to sleep. All in all, the two couples can’t effectively communicate, so they threaten each other instead. Will their peace be restored?

Native Gardens runs through July 2nd at Victory Gardens Theater. To find out more about this show visit www.VictoryGardens.org.

It’s been quite a year in Chicagoland for Karen Zacarías, and it’s not over yet. One year after her The Book Club Play graced the 16th Street Theater in Berwyn, a month after Destiny of Desire opened at the Goodman, and a month before Native Gardens plays at Victory Gardens, her new play Into the Beautiful North is receiving a rolling world premiere back at 16th Street. Adapted from a novel of the same name by Naperville resident Luis Alberto Urrea, Into the Beautiful North is a hilarious, bitingly satirical, and occasionally terrifying and disturbing adventure story about a group of young Mexicans going on a quest to the distant, fabled city of Kankakee. The dangers awaiting them will change how they see everything.

The small Mexican town of Tres Camarones doesn’t have much. There’s just one internet-capable computer, owned by Tacho (Esteban Andres Cruz), the gay proprietor of the internet café. There’s a shuttered movie theatre where people used to escape into wild flights of fancy. And recently, nearly all the men seem to have deserted for the United States. This makes Tres Camarones easy prey to the evil narcos, who steal and abuse the town’s inhabitants as they please. But the town still successfully holds a mayoral election, which is won by Irma Cervantes (Laura Crotte) on a platform of boosting female employment by holding a Yul Brenner festival (though the cinema owner insists on a Steve McQueen festival).

While the town watches The Magnificent Seven, Irma’s niece, Nayeli (Ilse Zacharias), has a bold idea: why not go to the United States and gather seven brave Mexican men to fight off the narcos? They could even start with her father, who sent her a postcard once from Kankakee claiming he had done well. Irma supports the idea and contributes a lead of her own, while Nayeli gathers Tacho and her goth friend, Vampi (Allyce Torres), to make the journey to Tijuana, and then, illegally cross the border and go onward to Illinois, with stops for sight-seeing in Beverly Hills and Hollywood.

All does not go well. The band of friends is subjected to harassment and assault by federal troops searching for illegal Central American immigrants while still deep within Mexico. At Tijuana, they are joined by the dump-dwelling garbage warrior, Atomiko (Brandon Rivera), but their first crossing attempt is a disaster. The friends soon realize they have no idea what they will do even if they do get across, but this only proves to Nayeli that only the braves heroes can survive going to the United States.

Directed by Ann Filmer and cast member Miguel Nuñez, Into the Beautiful North rides the peaks of absurdity and valleys of real life horror like a roller coaster. Though we may be chuckling at Nayeli’s silhouetted Jack Sparrow-fantasy-lover one minute and cringing at an all-too-real incident of homophobia or xenophobia the next, the play is very much a coherent whole. Partly that’s because of a brilliant design by Joanna Iwanicka (set), Cat Wilson (lighting), Rachel Sypniewski (costumes) and Barry Bennett (sound/music), which capture the look of a Technicolor Western. We’re half-in the land of myth, where good and evil, love, and coming of age journeys are all outsized, so, of course, anything can happen.

But we’re also in the realm of shrewd political commentary, and that’s where the eight-person ensemble really shines. Zacharias, Crotte, Cruz, Nuñez, Torres, Rivera, and Andrés Enriquez and Juan Munoz go through a whirlwind of character changes as they perform this epic, each moving between larger-than-life performance styles and brief, but fascinating portraits of people from a massive swath of North America. Nayeli is so optimistic it’s impossible not to love her, and Tacho likewise emerges as a true hero in the face of the crap he is subjected to.

Filmer’s pre-show announcement hails the Mexican pride in this play, and that’s certainly present in abundance. Despite the outward simplicity of the presentation, we feel as though we are going on this journey with these characters as they learn about their own country and the United States. Atomiko the garbage warrior is amusing, but we are pointedly reminded that people really do live and die in such dumps. That’s an indictment of both countries’ social structures as well as a tribute to ordinary peoples’ courage, resourcefulness, and determination to survive. As is often the case with 16th Street, the play was extended before it even opened. As fine as this story is, it works especially well in an intimate setting. Don’t wait to get your tickets.

Highly Recommended

Into the Beautiful North is playing at the 16th St Theater in the Berwyn Cultural Center, 6420 16th Street, Berwyn, Il. Performances run Thursdays and Fridays at 7:30 pm and Saturdays at 4:00 pm and 8:00 pm through June 3rd. Running time is two hours and ten minutes with one intermission. Free parking is available in the parking lot at 16th St and Gunderson.

To order, call 708-795-6704 or visit 16thstreettheater.org.

*Extended through June 17th

Destiny of Desire begins with the actors breaking the fourth wall, walking among the audience, encouraging them to relax and have fun. As they complete their tasks setting up the empty Goodman soundstage on which the telenovela we are about to watch is being shot, the entire cast announces with glee, “We are here to change the social order! Deal with it!”

And change the order they do, especially where the reputations and struggles of the Latino community are concerned. Playwright Karen Zacarías so grew weary of the way many plays written by Hispanics were dismissively compared to "telenovelas”, a form of soap opera-like entertainment. We are informed during the show that telenovelas are watched by a third of the world’s population - a full two billion fans around the world. Zacarías succeeds marvelously in parodying a true telenovela for the stage full of twists and turns and sexy passionate, and sometimes tragic, stories while using the play to advance feminist values in a subtle but very important way.

For example, when two young girls are struck in the face by their father when they are caught kissing, the father, Armando Castillo (Castulo Guerro), quickly laments his violence and cries that a woman should never be hit by a man - never be hit with anything more harsh than a single rose petal. 

Likewise, when the rich villainess of the piece, Fabiola Castillo (played to perfection by the elegant and serpentinely sexy Ruth Livier) seems to make you totally disgusted with her gold digging, self-centered un-motherly behavior, the audience finds out that Fabiola was herself a poor girl subjected to repeated sexual abuse before escaping the farm life and painstakingly transforming herself into a blonde bombshell, eventually marrying to the richest man in the town.  

The story starts simply enough when two women (one rich and one poor) give birth at the same time at the same hospital. When the baby belonging to the privileged family is found sickly, the mother begs the doctor to make a switch so that she can have the healthy infant – and he does, pawning the other off on the farmhands. The plot thickens at virtually every corner in this hilarious in this oft steamy, oft scandalous Spanish soap opera set for stage – a show that literally keeps the audience plugged in from its opening scene. The journey follows the happenings as these women take destiny into their own hands. 

There are so many twists and turns, it would be a disservice to reveal the plot-lines but the most important message that runs throughout the show from the first scene to the last is that each mother and each daughter born to each family (one poor family and one rich) is the most precious miracle, a blessing bestowed by God and that no matter what the daughter's talents, beauty or graces or mistakes, they should all be protected from abuse or health neglect at any cost. 

The set detail truly creates an atmosphere to which we can easily become lost, sit back and just enjoy the story. Each of the men and women are dressed to sexy perfection in Julie Weiss’ true to telenovela form in dazzlingly modern costumes. The costumes by Julie Weiss are so VERY the typical telenovela, the lighting by Pablo Santiago floods the stage with oink, and the golden lights and large swathes of white fabric are ingeniously used to symbolize the desert sands, which is perfectly romantic and also constantly changing. I adored the swiftly moving and beautifully lit set by Francois-Pierre Couture.

Although, this is not a musical a pianist provides the score and there are songs, beautiful rich songs sung with passion in Spanish by many of the characters. Not knowing the lyrics in English makes no difference as these lovely pieces bond the show together and send the emotions soaring in a way that deepens the love you feel for each character's plight without stopping the comedy flow.  

Now that I know that two billion people are watching and enjoying this form of entertainment, I sincerely hope the huge success of this show makes its feminist message a regular part of telenovelas being produced right now, more than ever. 

Throughout the nearly non-stop humor in the show, there are also current day ad libs which refer to Donald Trump, the life expectancy of Hispanics in America (the highest despite financial and health insurances challenges) and the fact is pointed out that one out of every hundred Americans are behind bars because we incarcerate more of our citizens than any other country - messages all of which are delivered in a very funny and brief way which makes each fact that more clear without sounding preachy or out of place. Some are humorous while others are strong in message, one of the more shocking factoids divulging that one person is found dead each day in the desert between Mexico and the United States attempting to cross the border.

Karen Zacarias’ parody of the telenovela both does the art form justice and “cleans it up a little” in terms of political correctness in the most palatable way. 

Zacarias knows exactly how the pure unadulterated passion of men for the women in their lives can devolve into a passionate rage against the daughters and mothers of OTHER men without distinction in the man’s mind. 

Destiny of Desire is a very funny lampoon on telenovelas that perfectly exaggerates the absurdities while giving us an entertaining story where nothing is predictable. 

Finely directed by Jose Luis Valenuela, a talented cast from top to bottom perform to perfection this highly amusing script. Esperanza America and Ella Saldana North are just dynamite as the two sisters separated from their true families at birth while Eduardo Enrikez engages the audience each time he appears on stage with his campy portrayal of Sebastian Jose Castillo. Maurico Mendoza and Elsa Bocanegra flawlessly play the poor Del Rio parents as do Ricardo Gutierrez and Fidel Gomez in the roles of father and son doctors, Dr. Jorge Ramiro Mendoza and Dr. Diego. Adding to what is already Well-thought comedic touches are littered throughout the production, the actors performing ballet moves as they switch out the props.   

Destiny of Desire is highly recommended as a sexy production that keeps a rapid pace, delivers buckets of comedy and engrosses from the word “Go”.  

Destiny of Desire is being performed at Goodman Theatre through April 16th. For tickets or more show information, click here.