Forbes refers to magic realism as “Combining elements of fantasy with highly detailed, realistic settings, magical realism books center humanity through the normalization of the fantastical.”
Magic realism is a very difficult genre to master. The likes of Isabel (“House of Sprits”) Allende, Gabriel García (“One Hundred Years of Solitude”) Márquez, Salman (“Midnight’s Children”) Rushdie and Laura (“Like Water for Chocolate”) Esquivel have taken successful swings in the realm of literature.
Dale Soules as “Dale” and Hennessy Winkler as “Ty” in La Jolla Playhouse’s world-premiere production of ALL THE MEN WHO’VE FRIGHTENED ME; photo by Rich Soublet II.
At La Jolla Playhouse, theatregoers are being treated to a world premiere production of “All The Men Who’ve Frightened Me.” Playwright Noah Diaz uses this literary device to explore themes of home, belonging and family. A couple is moving into a house in which one spouse spent their childhood. In trying to make it a home, their house and its prior occupants are a challenge. When parenthood becomes an issue, the question of who will carry the child is one of the first left turns the audience faces.
This is not quite a sit and back and let the linear storyline play out.
(L-R) Armando Riesco, Leonardo Romero, John Padilla, Kineta Kunutu and Hennessy Winkler in La Jolla Playhouse’s world-premiere production of ALL THE MEN WHO’VE FRIGHTENED ME; photo by Rich Soublet II.
A long departed father makes his appearance, in several forms. That causes consternation about whether the father-to-be will be able to carry off parenthood successfully.
A sister and mother round out the cast, all bringing their perspectives to the situation.
The magic realism successfully creeps in, almost before you realize it. Once you go with the conceit, the logic starts to fall into place. But not always.
The roles of the lead couple are adeptly played by Kineta Kunutu and Hennessy Winkler. Particularly effective is Dale Souyles, portraying the very disagreeable character of the mother.
The direction by Yat Ken keeps things from running off the rails, which is part of the tightrope in a production like this. I think I can mix metaphors when discussing magic realism!
Clever scenic design by Adam Rigg allows for various rooms in the house to be compactly displayed and a refurbished as the couple strives to turn the house into their home.
Overall, kudos for the ambition of the entire production, but the overall effect leaves several threads too loosely tied at the end.
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