Opera, music, theater, and art in Los Angeles and beyond
An Accident Waiting to Happen
June 06, 2012
Los Otros, the new musical from Ellen Fitzhugh and Michael John LaChiusa now onstage at the Center Theater Group’s Mark Taper Forum, attempts to grapple with a number of contemporary struggles including immigration, race relations, sexual politics, and singing in key. And while there’s a lot of battling in this 90 minutes, it’s the audience that is losing the war. In fact, more pointedly Los Otros raises the question of whether or not anyone at Center Theater Group was involved in vetting this material during the development process before it landed on stage in a full-scale production. There’s a lot wrong with Los Otros, and it’s hard to believe that no one thought this show wasn’t going to be anything but dreadful.
The concept is an exploration of the interactions between Anglo and Latin cultures in the personal lives of Southern Californians during the 20th Century. The single act is divided into two parts, each focusing on a lengthy sung monologue by a different character. The show opens with a white woman, performed by Michele Pawk, who recounts how as a young girl, she and her friends fed a family of illegal immigrants living in a nearby cave. If that’s not enough disturbing cross-cultural whimsy for you, don’t worry. It’s just an appetizer for the woman’s drunken seduction of an 18 year-old virgin Mexican day laborer in the 1970s. He’s kind enough to have her damaged car fixed up after the tryst, which is observed by many of his fellow laborers. No, I’m not making this up. Pawk has a free and easy association with pitch, which makes this bit a constant source of surprise. The mildly less offensive second part is told from the perspective of a 75 year-old first generation American son of Mexican immigrants, played by Julio Monge. The man now lives with his white male lover, but he’s got heart-warming childhood fieldwork stories to tell. Still, much of his time onstage is occupied with hand wringing over storage of the couple’s expansive art collection. Monge is more vocally assured with a text that is mostly sung-through with few self-contained songs.
Michael John LaChiusa’s music for Los Otros is pleasant enough. The ambitious long musical arc of each part is impressive. Fitzhugh’s book and lyrics are bewildering at times in their ham-handed dealings with complex real-life cultural issues. All of this transpires on a sand covered set with a junkyard full of chairs, dolls and other debris suspended above the stage and audience for some unknown reason. The desert set is filled with debris that serves as props, but often makes the show look like it transpires in a garbage dump. Director Graciela Daniele shows her choreographer side by giving her performers plenty of graceful movement to perform, but the show is too far gone from the outset for her to be able to accomplish much. Los Otros attempts to connect with the real multi-layered lives of Californians, but few in the audience recognized much that was familiar in this off-kilter blunder of a new musical.