While Los Angeles may be known for its flagship theaters such as
the Ahmanson and Mark Taper Forum, good drama also exists
elsewhere; it just needs to be searched out. Luckily, L.A.’s
EdgeFest, now in its seventh year, provides a forum for
lesser-known or grassroots theater companies to present their
original works and ideas.
EdgeFest, held in downtown’s Los Angeles Theatre Center,
hosts over 30 plays put on by a diverse lineup of theater
companies, with titles ranging from “Crumble (Lay Me Down
Justin Timberlake)” to “Slut” to
Shakespeare’s “Macbeth.” There’s something
for everyone, and although not all, or even most, of the
productions are flawless, there are also some undeniable gems that
are worth discovering.
One of these is the Latino Theater Group Laboratory’s
production of “Melancholia.” The Laboratory arose three
years ago from the veteran Latino Theater Group and features 18
young artists from several different countries, guided by Professor
Jose Luis Valenzuela of the UCLA School of Theater, Film and
Television. And although the group has been in existence for a few
years, “Melancholia” marks its professional debut.
“Melancholia” portrays the life of Mario Gonzalez, a
young Marine who has recently returned from war, and his attempt to
deal with his battle experiences in order to return to the life he
once lived.
Although the subject matter sounds tired and somewhat
cliché, the actors and director of “Melancholia”
refuse to limit themselves to mere predictability. They infuse
unique rhythm and movement into their performance, along with
absurd props, to give it a fresh feel.
Perhaps the play’s greatest strength lies in its humor.
The actors are unafraid to infuse the story’s serious subject
matter with comedy and occasional audience interaction, which
lightens up the play immensely without compromising its aim. All
actors possess substantial versatility as well, not only acting,
but also dancing and singing in several choreographed numbers.
Also refreshing is LTG Laboratory’s infectious enthusiasm
for its craft. The group members express themselves with exuberant
energy, proudly embracing their cultural idiosyncrasies and
creating a work that resonates with and speaks to their
generation.
The production is not without its share of kinks, which mainly
stem from its length. The material drags a bit near the end, and
the play’s representation of death ““ a ghost-like
operatic Kabuki woman ““ seems out of sync with the rest of
the cast.
The LTG Laboratory made the smart decision to not
over-politicize the production and instead focus on war’s
damaging effect on the human spirit. The show never mentions the
name of the war Mario fought in (although it is clearly one of the
wars in Iraq) and often draws comparisons to previous wars such as
World Wars I and II, as well as to Vietnam. In short, the group
tries to universalize Mario’s ordeal. Sadly, the universality
is not conveyed in the play’s conclusion, which portrays
death as the only option for soldiers.
Despite these minor missteps, LTG Laboratory puts on a very
entertaining and creative show, and demonstrates an impressive
professional debut.
It is truly heartwarming to witness the passion of so many of
EdgeFest’s actors and directors. It may be all the way
downtown, but take some time in these next few weeks to see what
people are working on. You’ll be glad you did.
““Natalie Tate