Collaboraction & Teatro Vista's El Grito Del Bronx Lacks ... Something

[Chicagoist]

photo of Juan Villa as Papo by Saverio Truglia
As the world premiere El Grito Del Bronx begins, Lulu (Sandra Delgado) prepares to walk down the aisle without the company of her only remaining family, her brother Papo (Juan Villa). We later learn the reason for Papo's absence: he's a serial killer dying of AIDS on death row. Call us cynical, hard-hearted, jaded, whatever, but there's something missing in this show that prevented it from tugging our heartstrings and challenging our perceptions as it should. In the end, we felt like it had washed over us without getting us wet.

El Grito Del Bronx is set in a "poetic memoryscape" (don't look at us, that's what the press release says). We see bits of Lulu and Papo's childhood, Papo in the midst of committing his crimes, Lulu's struggles in her adult relationship, Papo's years in jail...you get the point. The frequency with which the story jumps between these varied settings inhibits opportunities for the audience to really connect to these characters, and, though we hate to say it, that seems to be true for some of the actors as well.

Given the arduous task of humanizing a killer, Villa is hindered by the script's quick leap between his teenage self, a protective brother who loves acting, to a sociopath. We found ourselves pitying the murdered racist gas station attendants instead of the misguided anti-hero. Papo is most sympathetic when talking to Lulu, but unfortunately his best moments are delivered from behind prison bars. Regina Garcia's set, although supported by beautiful lighting from Jeremy Getz, is a physical barrier that kept him far away enough that we couldn't help but sit behind an emotional one. As Lulu, Delgado shoulders the bulk of the play with grace, sincerity and a charming quirkiness. However, some of that sincerity is lost in her interactions with boyfriend Ed (Josh Odor). We intellectually understood their struggles as a couple, but a lack of chemistry prevented us from feeling them. Their scenes are also written in somewhat of an incongruous style - a choice that might not have bothered us if there was more of a delineation from the "poetic memoryscape."

That term has been stuck in our heads since we saw the show, because it almost seems like a cop-out to explain a lack of depth. For example, two would-be Greek choruses appear in the second act - one is comprised of Papo's victims, the other of mothers who have lost their sons. The reflections on Papo's character delivered by these groups would be much more powerful if they came from Papo himself. Just as importantly, the pace of the entire play is steady and almost meditative - like an aria without phrasing.

As always, this review is just our (or, um, my) opinion, and while we hope that you usually take our advice so as to spend your time and money wisely, there is a bit of a safety net here. This is the first time we've heard of this being done - and we're not too sure how we feel about it - this show has a money-back guarantee. Yes, you read that right - The Richard H. Driehaus Foundation has provided Collaboraction and Teatro Vista with a $10,000 allotment for ticket refunds. Any audience member who is unsatisfied with the production can fill out a form in the lobby with their name, email address and reasons why s/he was unsatisfied in exchange for a full cash refund. Sounds suspicious, but it's true.

El Grito Del Bronx, through August 2. Collaboration and Teatro Vista at The Goodman, 170 N. Dearborn St. Tickets $18-$30, 312-443-3800, group discounts available at 312-443-3815.






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