Review: Kennedy Center's OLIVERio: A BRAZILIAN TWIST Takes Audience on Trip to Rio

Over the past season or two, we've seen our fair share of professional productions of OLIVER in the DC area. Adventure Theatre MTC took a stab at it over the summer and Arena Stage offered up a steampunk version of the classic musical a few months ago. While the Kennedy Center's current TYA production of OLIVÉRio: A BRAZILIAN TWIST shares the same Charles Dickens-penned source material, those looking for the familiar Lionel Bart musical will find that what's being offered up onstage at the Kennedy Center is quite different - and not just the setting. A Kennedy Center commission featuring a book and lyrics by Karen Zacarías and music by Deborah Wicks La Puma, OLIVÉRio: A BRAZILIAN TWIST explores what would happen if a theatre company intended to stage a standard production of OLIVER set in 19th century London, but suddenly realized the available scenic design (Luciana Stecconi) and costumes (Ivania Stack) wouldn't quite work for that purpose.

Dressed in white costumes - similar to what many inhabitants of Rio de Janeiro wear on New Year's Eve - and surrounded by a set resembling a Latin American large village or city, the actors urge their director (Rayanne Gonzales) to go ahead with the production, but with a twist. This rendition of the well-known story would be set in Brazil rather than gloomy England. One more modification, they learn, is also required. The young boy cast in the title role can't perform because of a scheduling conflict, so instead of cancelling the production all together, the acting troupe decides to bring on a young girl who has volunteered to play the title role. It is at this point that we meet the little street orphan Esperança Olivério, or Oli for short (Felicia Curry). Her first name - Esperança - couldn't be more appropriate. Esperança translates as "hope" in English, and this little girl embodies it. Oli has traveled miles and miles by herself to Rio and is eager to make the most of life even if it's truly, truly hard. Unlike everyone else, Oli gives thanks to Iemanja, the goddess of the sea (Rayanne Gonzales) at the New Year's Eve celebration and catches Iemanja's eye for her undeniable goodness. From that point on, Iemanja watches over the young child.

That night, a chance encounter with the wealthy widow Rosa Maria (Donna Migliaccio) provides Oli with a bit of important pocket money, but also introduces her Rio's criminal underbelly. Falcão (Sasha Olnick) and his young protégé Zé Esquiva (Arturo Soria) survive by stealing and realize that Oli might be useful to them because of her natural ability to charm anyone into giving her a few coins without even trying. They take the unsuspecting Oli under their wing and try (unsuccessfully) to turn the honest and sweet child into a thief. For a time, she takes up residence with them and Nanci (Erika Rose) in the favela (slum), and both she and Nanci become embroiled in Falcão's schemes. They are put into harm way with the corrupt and power hungry policeman Sykes (James Konicek), also known as Nanci's "lover" and sometimes Falcão's nemesis. The question is whether Oli's innate inner goodness and the support from Iemanja will allow her to overcome all of the obstacles in front of her and get the life that she and Nanci deserve. Is it possible for Oli's actions to change the fate of everyone or is it predetermined?

Fundamentally, the major strength of this play is how Zacarías explores the immense socioeconomic inequality in a modern, large Latin American city by telling a familiar story in a way that even an elementary school age child could understand. The message offered within the play, likewise, is an important one for even the youngest theatregoer. Hope can survive. I could quibble that things works out a little too neat, quickly and tidy for my taste in this story. I could also grumble about the constant sweetness of our heroine is a bit much to take at times, though Curry, as usual, gives a fully committed performance that's bursting with enthusiasm. Still, in all actuality, I can put those feelings aside quite easily. I commend the writers for giving us a layered play with a meaningful message and, perhaps, an unexpected ending for those familiar with the source material.

Deborah Wicks La Puma provides consistent samba-flavored music that's most fitting for the production even if few, if any, moments are ultimately memorable. The inclusion of three onstage musicians - Music Director Richard Miller on guitar, Leonardo Lucini on bass, and Bruno Lucini on percussion - is a delight and a bit of a rarity in theatre aimed at young audiences where recorded tracks are, regrettably, the norm rather than the exception. The live music, as well as Christopher Baine's sound design, provides the necessary ambience and really brings the audience to Brazil where music is an important facet of everyday life. While Zacarías' lyrics are, for the most part, generic - one need not look further than the song Oli sings about giving thanks for an example - the cast gives such passionate performances that it's is possible to overlook the deficiencies. Even the weakest singers of the bunch know how to sell a song, although some do so better than others. Vocally and acting wise, Curry and Migliaccio are the standouts. I would expect the cast to become even stronger as a collective unit as the run continues.

While this production, tightly directed by Juliette Carrillo, is not quite perfect, it's a worthy one to check out - with or without kids.

Running Time: 70 minutes with no intermission.

OLIVÉRio: A BRAZILIAN TWIST plays at the Kennedy Center's Family Theater - 2700 F Street, NW in Washington, DC - through February 21, 2016. For tickets, call the box office at 202-467-4600 or purchase them online.

Photo: Felicia Curry pictured; by Teresa Wood.

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