Bishop Arts Theatre Center presents Curse of the Puerto Ricans
Curse of the Puerto Ricans
by Rosa Fernandez
Directed by Marta Torres
My Thoughts on Curse of the Puerto Ricans or…not so Feliz Navidad
Bishop Arts Theatre Center presents
Curse of the Puerto Ricans
by Rosa Fernandez
Directed by Marta Torres
It’s Christmas time in Brooklyn in 2010 and all is not merry and bright in the Rodriguez household. There is family drama of all sorts: lack of money, an alcoholic father, an ailing mother, a teen with a major problem, an unhappy middle sister who must make a life altering decision and the problems of being nonwhite in America. Are their lives really cursed or are they victims of the society in which they live? Playwright Rosa Fernandez’s play addresses both the joy and the pain of being part of a family living together under one roof. Although the family here is Puerto Rican, the theme of obligation to one’s family is universal.
There are five members of the Rodriguez family. The father, who is never seen on stage, the mother played by Ruth Marquez, the youngest sister, a teen called Baby. played by Carrie Viera, the middle sister Julia played by Mies Quatrino, and the eldest sister Millie, who is living in Puerto Rico and visiting for the holidays, played by Tamika Sanders. The fifth person in the drama is Nene, the boyfriend of Julia, who has a successful job in California, played by Roger Pena.
The action of the play takes place in the small kitchen of the Rodriguez home, designed by Ariel Kregal, who also cleverly shows the world beyond the kitchen by the presence of a huge moon and decorations strung high in front of it. Linda Blase provides the lighting that keeps the characters in focus and Shahrzad Mazaheri’s costumes define each character perfectly.
Director Torres has limited space to tell the story, but makes great use of the kitchen table, which is the center of the Rodriguez family’s life and where the conversation is constant. And there is no need for a great deal of movement here as Rosa Fernandez’s gift for dialogue keeps us absorbed in the problems of the family. Fernandez asks a tough question in this play, where does obligation to one’s family end and self-preservation begin? This question provides for the most dramatic and surprising moment of the play.
Director Torres has assembled a group of fine actors who endear us to the Rodriguez family. Roger Pena looks every bit the part of the immaculately dressed, attractive Nene, but most of his dialogue was delivered at such a low volume that it was impossible for me to hear it from my seat in the auditorium. However, it was easy to understand Julia’s attraction to him.
Volume was certainly not a problem with Ruth Marquez as Mama. Marquez gives Mama both humor and humanity and I loved the way she gesticulated as she talked. In a role that could have easily fallen into stereotype, Marquez kept Mama unique and believable.
Carrie Viera could not have been more perfect as the youngest sister. She reminded me of so many students I have taught, especially those fighting difficult problems mainly on their own. Viera’s delivery and downcast eyes gave her a most appealing presence.
Tamika Sanders, as Mille, the eldest sister who lives in Puerto Rico and has a promising future, gives a terrific performance as someone caught between two worlds. Although she is the first born of the Rodriguez clan, she was also the first to leave to pursue her own life. Sanders captures the difference that being away has made in her character, keeping her arms crossed as she deals with the resentment from her sister Julia. Sanders and Quatrino also have a great “fight” seen in Act II as their differing opinions spill over into physicality.
As the central character of Julia, Mies Quatrino is remarkable. Quatrino carries the weight of the play as if it were second nature. After seeing Quatrino play Sally Bowles, I knew they is quite the musical performer, but I had no idea they was equally adept at drama. Mies hits all the right notes whether it is arguing with Mama and her sisters or being reluctantly romantic with Nene and the internal struggle Julia is going through is always apparent on Quatrino’s face.
Director Torres and Playwright Fernandez have made Curse of the Puerto Ricans into a never less than engrossing evening with many laughs, much tension, and an ending that will leave you shocked. The play tackles a big question and delivers a satisfying, but surprising, answer.
