Patricia Alvitez

A wolf left howling at the door

A new Rolling World Premiere at Milagro blends fairy tale and Aztec myth in a visually seductive but overly simplistic tale

Marisela Treviño Orta’s new play Wolf at the Door at Milagro Theatre is a blend of fairy tale and Aztec myth. Its heroine, Isadora, is in an abusive relationship with Séptimo. Séptimo has kidnapped Yolot, a pregnant Wolf-Spirit-Person, and wants to steal her baby. Wolves howl in the distance throughout the show, communicating with Yolot. Isadora (Marian Mendez), Yolot (Maya Malán-González), and the Wolves all plot to take down Séptimo (Matthew Sepeda). Human, Spirit, and Animal come together to triumph over an abuser. As an idea, that’s pretty awesome. On stage, it dosn’t land so well.

Wolf at the Door – it’s part of the National New Play Network’s Rolling World Premiere program, with companies in New Jersey, Dallas, and Chicago also producing it – opens with Isadora’s baby dying in childbirth. Then Rocío (Patricia Alvitez), a maternal sage figure, digs a hole in the ground to bury the corpse. That’s an intense image at the top of any play. And the intensity only goes up from there.

Patricia Alvitez as Rocío. Photo: Russell J Young

The ancient stories that Treviño Orta used as sources, and which are outlined in the study guide Milagro provides its audience, are compelling. One reason fairy tales and myths have good shelf lives is their simplicity: They succinctly impart the profound. For example, fairy-tale characters are often clearly delineated as either good or bad. That lack of more complex definition works well in storytelling/oral traditions, but here it makes the action onstage fall flat.

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‘Watsonville’: What’s old is new

Milagro's revival of Cherríe Moraga's 1990s play about a volatile strike in a California cannery feels like it's lifted from today's headlines

Let’s do the time warp again. Cherríe Moraga’s Watsonville: Some Place Not Here, which opened Friday night at Milagro Theatre, premiered in 1996 and is based loosely on events that took place in the mid-to-late 1980s. But you’ll be excused if you think it’s ripped from today’s headlines or incendiary tweets. This is no warm-and-fuzzy trip down Nostalgia Lane. It’s more Good Lord, here we go again.

Moraga’s play, a stand-alone drama that is also the final chapter in a trilogy including Heroes and Saints and Circle in the Dark, is a messy, sprawling thing that overcomes its structural problems with an overriding passion and declaration of ugly truths (and a few redeeming ones). Its greatest achievement is to create believable and sympathetic characters who are swept up in situations that are usually viewed in political terms – as “problems,” not as people. For the characters in Watsonville the great social drama of a sharp cultural clash is both political and the everyday stuff they have to deal with as they lead their lives.

Bunnie Rivera as Dolores, reluctant radical. Photo: Russell J Young

Set amid a two-year-long strike by cannery workers in the Pajaro Valley farm town of Watsonville in California’s Santa Cruz County, the play ripples with issues that have gained more and more urgency since the right-wing ascendancy that culminated in the national elections of 2016 and has been flexing its muscles ever since. Among them:

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