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Electricidad is at the Mark Taper Forum

Shag With a Twist at the Los Angeles Theatre Center

Proof at the David Henry Hwang Theater

Visual Music is at MOCA Grand Avenue

As You Like It at the Ahmanson Theatre

The Goat or, Who Is Sylvia? at the Taper

Romeo et Juliette at the Dorothy Chandler Pavilion

Aida at the Dorothy Chandler Pavilion

School for Scandal at the Mark Taper

Vanessa at the Dorothy Chandler Pavilion

Electricidad is at the Mark Taper Forum

Sophocles Meets Switchblades

Zilah Mendoza and Justin Huen in Luis Alfaro's Electricidad, which plays at the Mark Taper Forum through May 15. Photo by Craig Schwartz.

By Rob Kednt
Who says kids got no respect? In Luis Alfaro's gritty, witty Electricidad, one young woman's dogged attachment to tradition is a key element of the tragedy. In adapting Sophocles' severe, probing version of Electra to contemporary Los Angeles, Alfaro has persuasively conjured a fateful moral mythos as unforgiving in its way as the Greeks': the self-made switchblade chivalry of the cholo.

It's a world in which "old school" and veterano are ultimate compliments, where oldies radio and obsessively detailed Chevys are the height of fashion, where everyone speaks in terms of "rules" that determine and measure their actions.

At the play's start, there has been a huge disturbance in the cholo force: Clemencia (Bertila Damas) has flouted the code by killing her husband Agamemnón, the barrio's former "king," and put a hit on their son Orestes (Justin Huen). While Clemencia struts on heels and seethes on the phone in her cutaway frame house, her hair piled in a half-beehive helmet, her daughter Electricidad (Zilah Mendoza) holds a defiant vigil over Agamemnón's body on the front lawn.

No one who stops by this makeshift grave site - her sister Ifigenia (Elisa Bocanegra), a reformed chola, her saucy Abuela (Alma Martinez), or a Greek chorus of broom-toting busybodies in housecoats (Denise Blasor, Catalina Maynard and Wilma Bonet) - can dissuade the wracked Electricidad from this show of grief. Meanwhile brother Orestes, away in Vegas, trains for la vida loca with battle-wizened Nino (Winston J. Rocha).

Even if we know how this must end, Alfaro's free-ranging Spanglish text has many surprises and jolts up its Pendleton sleeve. Ifigenia, with her tight, wet curls and Goth eye shadow, looks like she could cause some serious damage - until she opens her puffy windbreaker, and her heart, to reveal that she has joined a convent and is trying to learn to forgive.

For all her withering witchiness, Clemencia explains her motives for murder in bracingly feminist terms that almost seem to crack Electricidad's resistance.

Perhaps most startling of all, Electricidad herself gets quieter and calmer the closer she gets to the play's inevitable confrontation. In an extraordinary performance of breathtaking, almost operatic range, Mendoza goes from roiling machismo to broken, even apologetic quiescence as she comes to believe she's only doing what must be done.

All the performances in director Lisa Peterson's bold, clear-eyed production have similarly gratifying richness, from Damas' cool, luxuriant bitterness to Martinez's crass ebullience, from Huen's palpable vulnerability to Rocha's crusty chill. Apart from Mendoza, who rivets our attention even in repose, Bocanegra - with her hoarse voice and versatile Greek mask of a face - delivers the show's breakout turn.

She also gets some of the show's best reality-check one-liners. "Your loyalty to Papa has always been deep and kinda creepy," she tells Electricidad, and later dismisses one of her sister's sweeping invocations with the unanswerable put-down, "That's poetic but stupid."

Alfaro gives his chorus plenty of other snappy contemporary in-jokes. "In the beginning, before Mayor Bradley and Gloria Molina..." goes one iteration of the play's pre-history. But alongside liberal references to Tupac, Oprah, Boyle Heights hero Father Greg Boyle and the gory Mexican rag Alarma!, this chorus of neighbors also delivers some fearsome perspective: "It's a city with no center, no heart," they conclude about Los Angeles. "It's all bordertowns. It's the wild, wild west!"

Not only the performances but everything about Peterson's staging - Rachel Hauck's dusty, exposed-seam set, costume designer Christopher Acebo's perfectly observed threads, Geoff Korf's dusky lighting, Paul James Prendergast's crackling sound design - root the play's primal tragedy in contemporary reality without reducing either to caricature.

While it's a scandal that it took so long for Taper resident artist Alfaro to get a show on the mainstage - he's an essential voice long overdue for a wider audience - it is clear why Gordon Davidson selected it for his final season at his theater. He's long been cited for his commitment to political theater, but Davidson's most important legacy to his adopted city of Los Angeles is the series of plays he's produced about the tragic contradictions and dizzying juxtapositions of the city itself, from Zoot Suit to Twilight: Los Angeles to Chavez Ravine to Living Out. Electricidad is a stunning consummation of this often overlooked vein of Taper gold - a tradition we can unambiguously embrace.

Electricidad is at the Mark Taper Forum through May 15, 135 N. Grand Ave., (213) 628-2772 or marktaperforum.org.

page 14, 4/11/2005
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