With a superb cast of five and a brisk 95 minute running time, the drama becomes especially taught in the second half of this well written play. In the intimate Mandell Weiss Forum (reminiscent of the impressive Mark Taper in Los Angeles), the play crackles with energy and thought-provoking dialogue.
The actors bring a strong command of characters to the stage. Although the rhythm of the play does not seem to fully cohere until we are well into the first third of the production, once everything is in gear, the audience becomes fully invested. The interconnected dynamics of the characters are told impressively through precious little exposition.
Several plot twists are perplexing in the moment, but on reflection fit very well with what has unfolded earlier.
Ashley Alvarez as “Eugenia Silva” (left) and Caro Guzmán as “Mercedes Silva” in La Jolla Playhouse’s world premiere of DERECHO, by Noelle Viñas, directed by Delicia Turner Sonnenberg; photo by Rich Soublet II.
As stepsisters, Eugenia and Mercedes interact realistically. The former is starting a possible political career, and her higher strung demeanor is well-assayed by Ashley Alvarez. Sibling banter simmers and then boils over when the free-spirited Mercedes (Caro Guzmán) is able to reveal more of the sisters’ backstory. The three men in the play (Jorge Sánchez Díaz, Eric Hagen and Luis Vega) each have strengths, but in each instance their significant other is more interesting.
The stage set presents a very realistic version of a successful Georgetown couple. Implications of liberal leanings, immigrant assimilation and economic success are intertwined in the fine script by Noelle Viñas. The debate about whether Latinx is actually wanted by those to whom it is unilaterally applied is only one such fascinating part of the script.
Director Delicia Turner Sonnenberg increases the pace steadily, with an impressive denouement after the literal and figurative storm.
Ticket information here.
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