Marge, a woman who obviously rules the local social scene, pushes her way through a row of patrons, down the center aisle, and takes full command of the stage. The stage is hidden by sheer white satiny cloth, a not-quite-opaque "show curtain." This is definitely a woman you do not want to tangle with -- ever!
Thus, she sets the style for Guillermo Reyes' Deporting The Divas at Diversionary Theater. The forth wall is broken and far beyond repair. Marge is pompously played by Jason Waller, who is also responsible for four other characters.
The curtain parts, revealing David Weiner's opened-framed set, replete with a partial corrugated roof, floored in old broken tile. It is a sparsely furnished Border Patrol office. Border Patrolman Michael, played by George Gonzales, speaks. Again, the forth wall vanishes as Gonzales sets the audience straight about himself and the workings of the INS and their inequitable directives.
Not only is the separation between players and audience broken, playwright Reyes brings real joy to the English language. His characters discuss the parts of speech, play with sentence structure, and chide one and another over their phonetic faults.
Poor Michael faces the fact that his wife has left him, he is being forced to go to Spanish class because he can't speak the language (He is a Hispanic!), and now is beginning to doubt his own sexuality, having daydreams, ala film noir style, of men in drag. Plus, he stills has to arrest gays with AIDS or HIV positive status, for eventual deportation. Finally, his multi-married boss is about to marry his sister.
Juan Manzo, who is responsible for five roles, is a delight. His Miss Fresno is a show-stopper; however, it is his role as Michael's love interest where Manzo shines as an excellent actor.
This extremely well written script, through humor, explores problems within the gay Hispanic community as well as illegals and the INS. Laughter rings out throughout the first act, as playwright Reyes, while exploring these serious problems, challenges the audience through witty dialogue and amusing situations. Jennifer Setlow's lighting plot plays an important role in the production, as does Jeff Jones' sound effects and recordings. Choreographer MaryBeth Hughes designed an intriguing transvestite tango that sweeps the complete stage.
Towards the end of the intermission, as the audience was casually strolling into the theater, Arturo Medina, as the Spanish Teacher, began pacing on the front of the curtained stage, non-verbally menacing, threatening, and finger-pointing at us miscreants that were not fully attentive and quiet as a good class should be. He got us in order, with some aggressive interaction with the audience, for the second act. Medina, who had one other role, defined the term threatening teacher.
Act II takes more of a serious attitude as Michael's dilemmas become more complex. The singing talent of Gonzales is apparent in his solo. The combined talents of costumer Shulamit Nelson and wig mistress Naomi Nelson bring flair and panache to the array of drag roles. Carman Miranda is totally off the wall, while Miss Fresno and Sirena are charming.
Kirsten Brandt's direction is right-on throughout, and her fine casting is impeccable. Reyes' script will tantalize verbivores, challenge the Spanish speakers, and amuse all.
