Review: ALEBRIJES at The Scoundrel And Scamp Theatre

ALEBRIJES at The Scoundrel and Scamp is a colorful play in both English and Spanish by Georgina Escobar. The play is directed by Marc David Pinate. ALEBRIJES goes by a secondary title: RIDICULOUS BEAUTIFUL BEASTS. It is also described as "A Bilingual Day of the Dead Play." The play is set in Xochimilco in 1936 and a "psychedelic afterlife." It revolves around the character Pedro. The premise is that magic comes into the world of a young couple when they find a giant altar. The mystical events that transpire after this are best left to the audience member to discover. But suffice it to say that ALEBRIJES is indeed pure magic.

Pinate has done an exceptional job creating a fantasy world built on darkly charming whimsy and wonder. I was often reminded of ALICE IN WONDERLAND while watching ALEBRIJES. Pinate fills the stage with fantastical imagery, much of it lit under jaw-droppingly beautiful blacklight. The actors are all very engaged and present in their material. The pacing of the play was a little slow in the first act, although it did pick up in the second. This is more a commentary on the writing of the piece than the actual staging. The directing choices were bold and dynamic.

Anel Schmidt, who is a versatile actor/dancer/singer, was the perfect choice for La Muerte. Schmidt is able to convey dangerous beauty as a character who is indeed beautiful, dangerous, and mysterious. Ollin Acosta is sympathetic as the central character Pedro, and is easy to root for. Ivana Jimenez has great chemistry with Acosta as Alejandra. The titular trio of Alebrijes (Tyler Gastelum as El Gallo, Alicia Damian as La Pata, and Sebastian Falcón as El Gato) are fun to watch and perfectly play their characters. They are the perfect blend of human characteristics fused with animal movements.

ALEBRIJES is a co-production with Tucson Meet Yourself and Borderlands Theater. As such, the project feels very collaborative. My understanding is that the creative process for ALEBRIJES was collaborative in nature, and it shows in all of the work presented onstage. To have so many voices contributing to a single artistic product can sometimes be chaotic, yet ALEBRIJES proves that a team of capable artists working together can create beautiful work. It was inspiring to see the cast working together as a team and engaging in multiple tasks throughout the play, including puppetry (more on that later).

Scenic design (Alex Jimenez) and lighting by Raulie Martinez was sharp and filled with radiant hues. The use of blacklight provided a dramatic and colorful palatte for the audience to enjoy. Sound effects were well-executed to match the action onstage. Jules Granthom infused elaborate choreography into the blocking, particularly with La Muerte. Costumes by Sarah Polzin looked like they were from a storybook and perfectly matched the theme and tone of the play. Lisa Sturz crafted stunning puppet designs that added flair and quirkiness to the colorful production. Under the blacklight, the three glowing Alebrije puppets were a highlight of the show. Additionally, a gigantic puppet of La Muerte in Act II captivated audience members.

ALEBRIJES is a treat no matter your age. I am fluent in Spanish and I was able to understand the action transpiring onstage. My daughter, who speaks English and no Spanish, was able to follow what was happening just fine. There were ample context cues in the book and blocking to guide the audience along. The deliberate pacing of ALEBRIJES yields a confident production that teaches audiences the meaning of family and tradition. Stay after the show for a special activity with the cast. I heartily recommend ALEBRIJES at The Scoundrel and Scamp Theatre. The play is open through November 3.

Photo by Tim Fuller.

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