‘Diosa’ @ Cara Mia Theatre (with Manifesto Poético)
—Teresa Marrero
Get ready for a wild ride of the imagination with Cara Mía Theatre´s Diosa, the company’s latest collaboration with Manifesto Poético (from Ecuador and beyond), whose aesthetic of actors as co-creators stems from a physical theatre style they call “spatial dramaturgy”—and their commitment to ”a constant creation of theatrical languages…to make popular contemporary theatre that brings the language of the streets to the stage.” Diosa is co-directed by Manifesto Poético´s Paige Allerton and Carlos García Estévez, and was co-written with Cara Mía.
The title Diosa means “goddess” in Spanish. The figure of a silent, wise and ever-present mother/creator is enacted by Frida Espinosa Müller, draped in a flowing gown as she holds a small-scale representation of the world, with its its visible and invisible elements. Earthquakes emerge from the merest movements of this handheld structure: this is Mother Nature with capital letters, infusing the world with creative and destructive powers.
Meanwhile, in the world of human beings, David Lozano plays the part of Dr. Benedict, a mad scientist with a British accent, who has discovered the infinite energy potential of some minerals deep in the Amazon jungle. Also in the world of humans, we see the Green Corporation—financial backer of Dr. Benedict´s research—facing questions about the death of the wife of former journalist Leo (Bismark Quintanilla).
There are plot twists and turns as characters Phoenix (Meagan Harris), Xochitl (Liz Magallanes), Angela (Sorany Gutiérrez), and Mr. X (Armando Monsivais) weave their way through the maze of movements and dialogues—while Cosmos (Irwin Daye) directs towards the audience a sometimes off-beat and humorous narrative around the action.
Diosa is an experimental piece that depends upon the audience relaxing into the zany actions of the performers and the quick action twists. Don’t try to understand or analyze every little bit—just soak it in as it flows. This is a piece for those who enjoy surprises, and unusual ways of telling stories and making theater. The storyline was clear, as was the resolution and important ecological message of the piece, presented in an effective but not heavy-handed way.
The choreography of the piece is quite remarkable: the ensemble uses the entire space of the Latino Cultural Center´s black box theater, weaving in and around each other in perfect synchronicity. They perform multiple quick-changes of costumes on stage, and also provide a live soundtrack of incidental sounds.
There was clearly a supportive and in-the-know audience for the opening night performance on April 6, a younger, multi-cultural group. I enjoyed seeing artistic director Lozano at his comedic best, and found the physical and emotional involvement of the entire ensemble quite engaging. There is only one character I couldn’t make sense of—Mr. X, a blind man with a cane who seems detached from the rest of the action and the cast. Silencing a multitalented musician like Monsivais feels like a waste of talent. (As a side note, I also enjoyed hearing Spanish onstage without the usual encumbrance of reading overhead projections.)
Looking for unusual entertainment? Diosa could be what you’re after.
WHEN: April 6-April 21, 2024
WHERE: Latino Cultural Center, 2600 Live Oak, Dallas
WEB: caramiatheatre.org
Teresa Marrero is Professor of Latin American and Latinx theater and performance at the University of North Texas. She loves reviewing dance and theater in all genres and appreciates Onstage NTX for the opportunity to do so.
