Jomaris deJesus & Maria Ofelia Martos in Cartas desde el exilio I (Letters from Exile I). Photo: Teatro tercera Llamada
2nd Festival of Ten-Minute Works
Teatro Tercera Llamada
Theatre in Spanish with English Supertitles
Various writers
Directed by Jay Marie Padilla-Hayter & Haydee Canovas
A review by Keith Waits with Spanish translation
Entire contents are copyright © 2023 by Keith Waits. All rights reserved.
Oxford defines “liberty” as, the freedom to live as you choose without too many limits from government or authority. But language is liquid and that is the very “English” definition, to be sure.
So if Teatro Tercera Llamada chooses the word as a theme for its 2nd short play festival one may presume that writers working in Spanish and with family origins in Cuba, Puerto Rico, and other Hispanic locales will have the same understanding of the term.
But what is demonstrated here is arguably a more profound and certain expression of Foundational American values. Immigrant families are arguably less likely to take them for granted because a life without liberty is a recent memory.
This is not to say that all of the playwrights are overtly political in their work. Personal struggles to gain identity and empowerment are very present; Conchito Recis’s Suenos… Temores… (Dreams…Fears…) but Reynaldo Gamez-Vallejo presents an ideological discussion between two queer women, one who has enthusiastically joined the social justice protests in 2020 while the other focuses on their studies in Ellas Nosotros (She/Us).
Cartas desde el exilio I (Letters from Exile I) by Maria Josefa Reyes Hidalgo and Haydee Canovas is an epistolary narrative between two Cuban sisters, Dolores (Maria Ofelia Martos) in Cuba, and Soledad (Jomaris DeJesus) who has relocated to Miami as part of the Mariel boatlift. The exchange is formatted in two chapters spanning 1980 to 1991, a period in which the fortunes of Dolores and the rest of the family fall precipitously while, in comparison, Soledad prospers in America.
Maria Ofelia Martos is very good here, as is Jomaris DeJesus, who dominates the second half of the evening with two of her writings. Most of what had preceded it was so dependent on dialogue and monologue, a lot of talk and little action, that DeJesus’ Es Mental (It’s All in your Head) easily kicks up more energy in comparison. The awkward interaction between two friends is lively and full of humor while also commenting on the search for self-acceptance and the value of honest introspection.
Finally, DeJesus performs a lengthy monologue, Lecciones poeticas de libertad/Poetic Lessons of Freedom, built from a series of poems that is a tour de force performance, however much of it is autobiographical may not be certain, but DeJesus plays it as a raucous and ribald confessional that is the highlight of the evening.
Strictly speaking, most of the plays ran longer than 10 minutes. However common a device, the imposition of a time limit seems arbitrary, and the work seems to run as long as is necessary. There is a static quality to the staging of the first pieces, and Canovas’ epistolary format is challenging, but in the end, this is a successful exploration of identity and personal, social, and political liberty.
Featuring Orly Parrado Barbarrosa, Jomaris DeJesus, Judith Gonzalez-Leyva, Maria Ofelia Martos, Xenia Miller, Cinthia Murguiav, & Maria Virginia Zambra.
2do Festival de obras de diez minutos
Esto no quiere decir que todos los dramaturgos sean abiertamente políticos en su trabajo. Las luchas personales por ganar identidad y empoderamiento están muy presentes; Sueños… Temores… de Conchito Recis pero Reynaldo Gamez-Vallejo presenta una discusión ideológica entre dos mujeres queer, una que se ha unido con entusiasmo a las protestas por la justicia social en 2020 mientras que la otra se centra en sus estudios en Ellas. Nosotros (Ella/Nosotros).
Cartas desde el exilio I de María Josefa Reyes Hidalgo y Haydee Canovas es una narrativa epistolar entre dos hermanas cubanas, Dolores (María Ofelia Martos) en Cuba y Soledad (Jomaris DeJesus), quien se mudó a Miami como parte del elevador del Mariel. El intercambio está estructurado en dos capítulos que abarcan de 1980 a 1991, un período en el que la fortuna de Dolores y el resto de la familia cae precipitadamente mientras, en comparación, Soledad prospera en Estados Unidos.
María Ofelia Martos está muy bien aquí, al igual que Jomaris DeJesus, quien domina la segunda mitad de la velada con dos de sus escritos. La mayor parte de lo que lo había precedido dependía tanto del diálogo y el monólogo, mucha conversación y poca acción, que Es Mental (It’s All in your Head) de DeJesus fácilmente genera más energía en comparación. La incómoda interacción entre dos amigos es animada y llena de humor, al mismo tiempo que comenta la búsqueda de la autoaceptación y el valor de la introspección honesta.
Finalmente, DeJesus interpreta un largo monólogo, Lecciones poeticas de libertad/Poetic Lessons of Freedom, construido a partir de una serie de poemas que es un tour de force; por mucho que sea autobiográfico puede que no sea seguro, pero DeJesus lo interpreta como un estridente y un confesionario obsceno que es lo más destacado de la velada.
Estrictamente hablando, la mayoría de las jugadas duraron más de 10 minutos. Por muy común que sea el recurso, la imposición de un límite de tiempo parece arbitraria y el trabajo parece durar tanto como sea necesario. Hay una cualidad estática en la puesta en escena de las primeras piezas, y el formato epistolar de Cánovas es desafiante, pero al final, se trata de una exploración exitosa de la identidad y la libertad personal, social y política.
2do Festival de obras de diez minutos
October 26, 27, 28, November 2, 3, & 4 @ 7:30 pm
October 29 & November 5 @ 2:00 pm
Teatro Tercera Llamada
Highview Arts Center
7406 Fegenbush Lane
Louisville, KY 40206
Keith Waits is a native of Louisville who works at Louisville Visual Art during the days, including being the host of Artists Talk with LVA on WXOX 97.1 FM / ARTxFM.com, but spends most of his evenings indulging his taste for theatre, music and visual arts. His work has appeared in LEO Weekly, Pure Uncut Candy, TheatreLouisville, and Louisville Mojo. He is now Managing Editor for Arts-Louisville.com.