CRITIC'S PICK
The King of the Desert (El Rey del Desierto)
by Stacey Martino
directed by Valentino Ferreira
El Centro Theatre
through June 11
Ser o no ser. Esta es la cuestion. Spanish Shakespeare consumes actor Rene Rivera. Throughout his stimulating one man show,
The King of the Desert, autobiographical and penned by his wife Stacey Martino, Rivera quotes
Hamlet more than once to describe his passion and to help sustain his dream of one day becoming a great actor. Like Hamlet, the young TexMex Rivera had difficulty assessing his self-worth amidst a life of constant struggle and turmoil.
Under Ferreira's fast paced direction, Rivera is a fireball of energy recreating a bevy of characters from his youth, including his father, mother, teachers, sidekicks and drug addicted older sibling Jose, who always tried to hand down his negativity. But Rivera persevered with optimism. He tumbles around the stage as a boy playing an avocado in a school pageant, and recreates the physical rage of the werewolves he became attracted to on the big screen, by banging and scratching the walls. He is at once amusing, charming, playful ...yet alarmingly realistic to the confinements of his Mexican heritage, knowing full well that his dream to break free may lead him nowhere. Even the Virgen of Guadalupe is envisioned by the TexMex culture as emprisoned so "they wouldn't steal her from us!" It was always that fear of uncertainty instilled by parents and the warning from white-skinned neighbors to leave the celebration of the 4th of July, for example, to the Americans! A great example of not belonging to the bigger picture is the St. Patrick Battalion of the Spanish American War, in which the Irish who first fought against the Mexicans changed sides and were then persecuted and hung for helping the Mexican plight. Rivera says, "I don't help; it causes pain".
There is obviously a political issue at the core of this piece, but it is hardly your "feel sympathy for me" polemic.
The King of the Desert on one level is what results from the mix of Indian cultures: the Mexican who is unique, special and anything but an inferior creature. On another level the desert represents man's territory and his control over that domain. How he finds his true place in life is the story of every man. Accept your place as citizen, laborer, husband and father. The play carries this universal message. As in many pieces of this nature, the various segments often collide without clarity, but Martino's transitions through the different stages and locales are smooth and focused. When he segues to NYC as a young actor, life is not any easier and even years later in LA playing cops or crooks, he is still unjustly stereotyped. When he finally finds freedom with the brith of his daughter, there is joy in 'freeing his ancestors' as well.
Rivera's performance is astounding. He is electric, passionate and luminous in portraying every character and in telling every aspect of his story. Every movement, every gesture is riveting and meaningful. I loved his heartfelt "I breathe my life into
Hamlet, hoping he will return the favor." Actors can relate to the endless search for identity. And most everyone may identify with "I am a loner, a realist and a fighter". I feel compelled to add ...
and a winner! Bravo.
Danuta Tomzynski's set design of the San Antonio barrio is evocative and rich in detail.
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