BACK
STAGE WEST
January
29, 1998
LOS
BIOMBOS/THE SCREENS
at
East L.A. Skills Center
Reviewed
by Rob Kendt
Like
many of the stage productions to which globe-hopping director Peter Sellars
lends his vision and name, Los Biombos/The Screens hovers stubbornly
between fiasco and epiphany, daring us to evaluate its thoroughgoing assault on
convention by any conventional terms to which we're accustomed. Sellars'
ambition can't be faulted, nor it is easy to dismiss the absolute, nigh cultish
conviction he's able to inspire in his collaborators. But it's worth wondering
whether the combination of Genet's acidic phantasmagoria of revolution,
Sellars' alienating, performance-arty poor theatre, and the missionary zeal of
the producers, the community-building Cornerstone Theater Co., is a happy
triangle or a match made in hell.
It
feels closer to hellish, truth be told. Staging Genet's rambling, ritualistic
epic across various spaces in a chilly, lofty upper floor of the East L.A.
Skills Center, Sellars throws sightlines and seating plans largely to the
audience's own devices. He's trimmed the original substantially, but it still
clocks in at nearly four hours. And, in his first L.A. collaboration with
Cornerstone, Sellars puts a cast of 32--a majority of them non-professional
community artists, the sort of joyous local hams with whom Cornerstone
regularly does exquisite work--through some strenuously detailed paces.
It
all comes off with stunningly straight-faced aplomb--which in many cases means
the performances are stiff and halting, but overall gives the production a
formidably controlled surface, even at its most chaotic. Actors switch or
double up roles from scene to scene; perform simple, stylized choreography as
they speak, and declaim the play's rough poetry impressively if blankly. Geoff
Korf's dusty, severe lighting and Lynn Jeffries' suggestive set pieces emerge
from unexpected places, as do whole scenes; wall-size canvases by Gronk are
placidly carted through as scenic punctuation; Dori Quan's costumes stay in an
iconic, workmanlike primary palette. There is a unity and concentration of
vision that comes through here.
But
to what end? Genet's bleakly imaginative play dramatized the Algerian uprising
of the 1950s as an almost occult apocalypse, while Gloria Alvarez' adaptation
(with Sellars, Jeffries, and Pete Galindo) is a rather shopworn despairing
picture of L.A. as a war zone of white property interests, militarized street
strife, and a resilient underclass that's paradoxically above it all. One comes
away from this rancorous, unplayful play with several striking
images--especially a loud punk seance led by the amazing Lilia Ramirez and the
tireless Blues Experiment band--but little substantial to chew on.
Standing
out from the cast, which includes members of the Chicano artists collective los
undocumented, are Luis Lopez, Ibrahim Saba, Cornerstone member Shishir Kurup,
Sandra Galindo, Claudia Lozano, and L.A. Poverty Dept. founder John Malpede.
Strikingly, few cast members don't get a shining moment of force, clarity, or
dry humor. Ultimately it's inarguable that Sellars and co. have done something
monumental with Los Biombos; the question only remains to what ideal it's a
monument. In his program bio, Sellars thanks cast and crew for "a
tremendous life experience." Whether it's such a tremendous theatrical
experience is profoundly dubious.
"Los
Biombos/The Screens," presented by Cornerstone Theatre Co. in association
with los undocumented & East L.A. Skills Center, 3921 Selig Pl., East L.A.
Jan. 17-Feb. 1. (310) 449-1700.