Written by Gustavo Ott and directed by Mónica Torres
A Special Review by Yuko Kurahashi, a member of the Cleveland Critics Circle.
“On any given day, when everything seems normal” (from the program), this normalcy is broken by an outsider, visitor, an estranged family member, or a ghost to unpack things that happened in the past—that’s good and well-used dramaturgy. Gustavo Ott uses this dramaturgical formula to reveal many skeletons in the “closet” of Daniel (Angel Valenzuela) and Victoria (Sandra Insaurralde). The “visitor” in the play is a box sent from the FBI; they (so explained) are returning Victoria’s bag pack discovered in New York City 12 years ago. From that backpack appear bits and pieces of Victoria at the age of 18.
The stage designed by John Rivera-Resto created a simple and plush apartment of Daniel and Victoria. A projected image of skyscrapers on the back wall implies that the locale is a big city (but not New York). A red couch in the middle, a coffee table, a chaise stage left, a home bar, a bar/serving cart, and a telescope. Hung from side walls are Colombian painter Fernando Botero’s paintings. Botero’s satirical paintings with exaggerated and transformed figures resonate with the author’s view and presentation of yuppie characters; Daniel is a successful lawyer with an equally successful corporate firm. Victoria is a TV anchor.
This is Daniel and Victoria’s precious space where they bring their story of the day to each other. Their haven becomes a battleground. Some parts of the sage, with sectional lighting (designed by Reinaldo Garcia), become exterior space and a metaphysical space where Daniel and Victoria confide with the audience about their past. Garcia, who also served as the sound designer, added sound effects like incessant ringing from the house phone and music from the musical stuffed puppy retrieved from Victoria’s backpack.
Torres, who also designed the costumes for this show, accentuated the differences in circumstances and priorities of Victoria. Victoria wears a leopard print sexy nightdress, a white blouse, a red skirt, a black cardigan in Act I and blue jeans (from her backpack) and a black top in Act II.
Valenzuela and Insaurralde demonstrate powerful, convincing, and yet extremely comical performance. The chemistry between them, which they have built, under the direction of Torres, Julia Fisher (Intimacy Director) and Alejandro Martinez (Intimacy Translator) illuminates the thread of the show; how one deals with immediate goals (like having a baby) and deal with their past.
As the show proceeds, Victoria’s story becomes more interesting and deeper, bringing many aspects of our social, cultural, historical, and political attributes. In the end, the audience predicts that Daniel’s past will be revealed and what he did while he engaged in pro bono work.
Tu Ternura Molotov! weaves, through its theatrical fabric, the complexities of the Palestinian-Israel conflicts, Islamophobia, racism, classicism, and other kinds of prejudice by the tactful hands of Gustavo Ott. As one of the audience members pointed out during the post-show discussion, the play also sheds light on child abuse and maltreatment by parents and foster parents.
Ott is an internationally acclaimed, award-winning writer. He is currently the Artistic Director of Teatro Gala in Washington. Gala will stage Ott’s The Return of Eva Perón in May 2024.
Tu Ternura Molotov
LatinUS Theatre Company
2937 West 25th Street, Cleveland, OH 44113: (216)269-7158
February 16 through March 3rd, 2024
Subtitle by Pablo de la Vega
Photo Credit: Bob Perkoski
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