Miracle Theatre Group
April 13, 2005
I’ve come to expect miracles from Milagro, and its 2005-2006 promises more wonders in a season of “Forbidden Knowledge Revealed.” Miracle knows itself — and its audiences — well and, yet, within that context, still recognizes how to stretch its angelic wings. Next season also features yearlong residency by playwright Joann Farias.
Elliot, A Soldier’s Fugue
Director Olga Sanchez has chosen another work by Quiara Alegría Hudes (Adventures of Barrio Grrrl! and Yemaya’s Belly) in which to explore “secrets, horror and the balm of love” as a young Marine returns from Iraq. Timely tale that’s sure to be explosive within the intimate confines of Miracle’s space.
El Día de Los Muertos Festival
“Extraordinary bilingual journey through the traditions of the Day of the Dead, filled with dance, music and teatro.” Another charming installment of cultural celebration, more theatrical each year. If you’re concerned about not understanding Spanish (or English, for that matter), no worries – seamless linguistics is one of those Milagro miracles.
“Miracle’s Spanish language Christmas celebration … fun for the whole family.” An unknown commodity with potential to be a creative yet heartfelt alternative to other yuletide traditions provided it — like Día de Los Muertos Festival — finds a theatrical voice above and beyond the importance of keeping alive cultural traditions.
Mi Vida Gitana
World premiere in which “a romance between a young Spanish gypsy girl and an American boy intertwines in an adventurous story of deceit and wild tales of the gypsies’ infamous past.” ¡Que rico! Here’s hoping it’ll carry as much poetry and emotion as this season’s Lorca in a Green Dress.
Men on the Verge 2 (The Self-Esteem Files)
“Boldly confronting issues of gay identity, immigration status, low self-esteem, embarrassing blind dates, same-sex weddings, bashings and post 9/11 blues with the rigorous struggle of just being human in a trying world.” Andres Alcalá alone could be exciting if he can make more cohesive evening rather than string together one-offs.
Based on Antonio Skarmeta’s novel and source of Il Postino, Ardiente Pacienca imagines Pablo Neruda in exile, teaching newfound friend Mario to woo, a woman while gradually building “friendship as beautiful as any love story.” Tender, up-close-and-personal — again, full of poetry, emotion and life — that can make a guy cry.
“Gustavito turns to the church to find peace and meets the Father, a young priest struggling with his own relationship with God. When the Father befriends the boy, the solace takes an unusual turn.” This bold choice may make some good Catholics squirm — just as good theatre should. Olga directs.