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February 19, 2018Posted by on
Quiara Alegria Hudes’ Pulitzer Prize-winning play “Water By The Spoonful,” just opened at the Mark Taper Forum, continues the legacy of her “Elliot: A Soldier’s Fugue”, now at the Kirk Douglas Theatre in Culver City. Elliott, honorably discharged from the Marines after being wounded in Iraq, has lost the woman who raised him to cancer – the woman he considers his mother – works a minimum wage job, and is haunted by the image of an Iraqi man uttering a phrase in Arabic. This is where we begin.
Elliot’s search for family connection, those family members’ search for roots or redemption, and the wider circle of people who influence those yearnings provide the story of this play. Clues to these people’s vital, and sometimes vitriolic, interconnectedness build gradually, and often painfully, in ways defined as much by the performers as by the script itself. Director Lileana Blain-Cruz has her focus on their elemental isolation, and the devastating effect of the lost or sacrificed links to humanness.
Sean Carvajal plays Elliot as far more of a street kid than his counterpart at the Douglas – reactionary and emotional, and more youthful (which is odd, as it takes place a few years after the previous play). Still, it works as a contrast to the cousin who is also his closest friend. Keren Lugo’s Yazmin – an adjunct professor desperate to keep family traditions and connections – uses a scholarly calm to balance Elliott’s passionate intensity in ways which obviously set her up as the new family core, now that her favorite aunt is gone.
Nick Massouh provides the definition for the terrors Elliott can’t move past, as both the ghost of his dreams and the professor who translates the Arabic phrase the ghost repeats throughout the play.
Running a concurrent, then intertwined narrative with Elliott’s, Luna Lauren Velez makes understated work of Odessa, another aunt of Yazmin’s, and the web mistress of a chat site for recovering meth addicts. It works in a low-key way which heightens the tremendous angst at the play’s close. As another recovering addict on the site, Orangutan, Sylvia Kwan’s immaturity and conflict balance well against Chutes&Ladders, played by Bernard K. Addison as the calming, if overly self-protective member of the group.
As Fountainhead, the overblown nom de plume for the newest list member – a man still in denial of his powerful need for crack – Josh Braaten is awkwardly pompous, a trick in part of the script but greatly a matter of manner. This makes him difficult for the onstage group and the audience to connect to, which is, of course, the point.
Director Lileana Blain-Cruz has splayed these personalities across Adam Rigg’s broad and eclectic set. It works for the most part, until the last scenes, when the introduction of a bathtub seems disconnected from any of the spaces one has encountered, making it somewhat inexplicable.
Still, in the end, what one comes away with in this version of this production is almost a voyeuristic sense of watching train wrecks happen in slow motion. Secrets spew, fears capture, sorrows are huge, and disconnects are potent. That this is, indeed, a portrait of America (hence the Pulitzer Prize) says a great deal about the actual American experience. That this portrait is as recognizable as it is speaks to the undercurrent of our national identity in a way which is tragic, human and very real.
What: “Water by the Spoonful” When: through March 11, 8 p.m. Tuesdays through Fridays, 2:30 p.m. and 8 p.m. Saturdays, 1 p.m. and 6:30 p.m. Sundays Where: The Mark Taper Forum, 135 N. Grand Ave. in downtown Los Angeles How Much: $25 – $95 Info: (213) 628-2772 or http://www.CenterTheatreGroup.org