Theater Review: Orinoco!

by Dennis Sloan of John Garcia's The Column

On Friday night, Teatro Dallas opened Orinoco!, which the company's website bills as a "revealing, surreal comedy" that "combines song, dance, and original music." If that sounds like a tall order, it probably it is - especially for the two actors who find themselves carrying the entirety of the action for just under two hours. Though a number of fairly effective one-liners and a few poignant moments connected well with the audience, one can't help but feel that some elements of Teatro Dallas's production are slightly overdone - while others are perhaps a bit undercooked. High octane performances keep the action moving buoyantly along, but the energy with which director Cora Cardona infuses the production at times seems to mask the actors' lack of total focus and complete confidence.

Orinoco!, written by Emilio Carballido and presented in a translation by Margaret Sayers Peden, is the story of Mina (Phyllis Cicero) and Fifi (Marbella Barreto), two nightclub performers traveling South America's Orinoco river on their way to the shadiest of professional engagements. The action begins on the morning Mina and Fifi discover that 8 of the ship's 9 crew members (the only other people on board) have been beaten and tossed overboard by a deck hand. With the deck hand injured (he never appears on stage), Mina and Fifi are left to guide the ship to its destination - or not. The script has its high points - some good comedy, occasionally moving poetry, and a few startling dramatic reveals - but it seems incomplete. There are a few songs here and there, but they seem to pop up right about the time the audience has forgotten that song and dance is part of the Orinoco! experience.

The musical numbers feel out of place, which might be appropriate in a surrealistic piece, but their juxtaposition onto the play offers none of the interest that true surrealism typically provides. At the same time, one leaves feeling that there was something missing from the play, though one is hard pressed to determine what it was.

Cardona's staging is generally effective, and Cicero and Barreto handle it well. With two actors on stage, attractive stage pictures are difficult to come by, but Cardona seeks out the possibilities on Nick Brethauer's multilevel set. Cardona's treatment of the play's comedy, however, is somewhat problematic; the goal seems to be to play for comedy as much and as often as possible.

The comedy is played fiercely - sometimes to the point of falling completely flat. Cicero or Barreto had several moments of fine acting on Friday night, but often had to halt progress, visibly set themselves up a gag, and then deliver it as loudly and as emphatically as possible. It's almost as if the actors have been given a general freedom, but have to reign themselves in for the predetermined delivery of jokes. As the audience watches them mentally change gears, the gags often (though not always) lose their punch.

Barreta is certainly to be commended for her energy. For the whole of each act, she gives the impression of being everywhere on stage at once. She has a lovely singing voice and she moves well; but her energy remains so high that she is sometimes unable to keep up with herself. She shows potential for some good, honest work, but she's forced to play so broadly that these moments never develop. This may, in fact, be an intentional choice on either Barreta's or Cardona's part, but it keeps us from connecting with Fifi as much as we'd like - particularly when things turn a little more inward in the second act.

Cicero's performance as Mina may be the best reason to see Orinoco!, and it may well be worth the ticket price all on its own. She begins as broadly as Barreta, at times overfilling Teatro Dallas's extremely intimate performance space; but when she finds opportunities for honesty, she is unwilling to sacrifice them to the overarching style of the production. Cicero takes her time when the script warrants doing so, exposing just enough of Mina's inner life to keep us connected to the character and to the play. It is only at these moments that we truly care about the two women whose uncertain fate unfolds before us. There are precious moments in Cicero's performance when we feel we're in the presence of a great actor; it is these moments that fuel our greatest interest in the play.

All of this goes down under lush lighting by Jeff Hurst, who perhaps captures the surrealism of the piece most effectively. The lighting changes are not excessive, but they do much to enhance the sultry and poetic moments of the piece and move us in and out of reality with no visible seams. Brethauer's set is laid out nicely, but the primary visual element consists of scenic painting that looks rushed. The yellows, reds, blues and oranges are appropriately chosen for the play's themes, but their application appears rudimentary. The scenery, however, is never meant to dominate, and Brethauer has created a good environment that establishes an appropriate tone but gives the stage over to the actors and the action - which is paramount for this particular piece.

Patrons planning to attend Orinoco! should be warned that the space is small - seating is limited and the sheer volume of the performances is at times overbearing. Though the production is disconnected at times, there are a number of good laughs and a few moments do a fine job of provoking feeling and thought. At just under two hours (including an 10 minute intermission), it even leaves time to peruse Teatro Dallas's lobby art gallery.

Orinoco! runs through March 15 and tickets can be purchased online or by calling 214-689-6492.