Displaying items by tag: Chicago

In Native Gardens, an ambitious young couple moves into a fixer-upper in an affluent DC neighborhood. Husband Pablo (Gabriel Ruiz) is a lawyer, his pregnant wife Tania (Paloma Nozicka) is working on her doctorate dissertation. Their nice and lively, albeit politically incorrect, neighbors are a defense contractor Virginia (Janet Ulrich Brooks) and her retired gardening-loving husband Frank (Patrick Clear). Shortly after moving in, Pablo has a bright idea to invite his entire law firm (all sixty people) to a barbeque in their embarrassingly unfinished yard, so the young couple gets to work. The old wire fence separating the neighbors’ properties (very nice design set by William Boles) has to go, but it soon becomes evident that Frank has been gardening on extra 23 inches of land that actually belongs to the new couple, according to the property plans.

Upon further calculations Pablo realizes that those 23 inches along the old fence translate into extra 80 sq feet of land which goes for “about $15,000 at a current market price”. Well, it’s a war then! Frank refuses to let go of his lovingly raised flowers right up against the ill-placed fence, while the young couple is on a mission to re-claim what’s rightfully theirs.

Who knew that an incorrectly placed fence would cause so much commotion? We all did, we saw it coming before the play even started. But despite its predictability, this comedy is still entertaining and somewhat thought provoking. Written by Karen Zacarias and directed by Marti Lyons, Native Gardens is more about generation clash, stereotypes, ageism and racism rather than the property lines. The older couple is from the pre-self-censorship era, and in their ignorance, they don’t always choose words carefully; they say what’s on their minds rather than hide behind politically correct words and ideas. But those words are often offensive to the delicate ears of Tania, whose proper opinions, frankly, make for sterile conversation, enough to put one to sleep. All in all, the two couples can’t effectively communicate, so they threaten each other instead. Will their peace be restored?

Native Gardens runs through July 2nd at Victory Gardens Theater. To find out more about this show visit www.VictoryGardens.org.

The producers at Steppenwolf describe Pass Over as a “riff on Waiting for Godot” – and that’s true - except for this: Pass Over is not boring. In fact it is gripping and entertaining for every one of its 80 minutes of run time.

Written by Antoinette Nwandu and premiering under the direction of Danya Taymor, Pass Over is at once funny, alarming, sickening, and frightening. With shades of Master Harold & the Boys and Miss Margarita’s Way, it portrays two young inner city black men – Moses (Jon Michael Hill) and Kitch (Julian Parker)  hanging out under a street lamp, hoping to get off “the block.” To say these two give knock out performances is an understatement.

Like Groundhog Day, each morning they resume the wait, their hours punctuated periodically by gunfire, and the appearance of the menacing policeman Ossifer (Ryan Hallahan in a searing performance; he also plays the white-suited Mister) whose role is to dispel their hope, and keep them in their place.

Moses and Kitch are condemned, suggests Nwandu, to be “waiting for Godot” their whole lives. Unlike Beckett’s duo, Moses and Kitch are not abstract constructs, but real people. The warmth and mutual fealty of these two young men captures your heart through their amusing word games and youthful horseplay.

Nwandu also plumbs the depths of the emotional link between Moses and Kitch, and we bear witness to their bond. As in Beckett’s play, these characters form a suicide pact, but cannot do it.  

They survive, somehow, and hope returns repeatedly – even against all odds. But the two never escape, either, and Pass Over faces us with our contemporary social challenge. By making Moses and Kitch so accessible to us, by humanizing them, Nwandu brings a fresh immediacy to the lament, that Black Lives Matter.   

Pass Over is both timeless, and a powerful commentary on contemporary conditions. Into this piece, Nwandu has squeezed a book. Fully deconstructed, it could easily fill a college semester of study.

Part of the vaunted excellence of Beckett’s 1953 Waiting for Godot - an existentialist reverie on the seemingly endless insufferableness of life, and perhaps the meaningless of that suffering – is that the audience also experiences the ennui of that endless wait, in real time. Frankly it’s a bore.

Not so with Pass Over. It is fully realized in this production. I might quibble with the end of the play – it seemed heavy handed from a first viewing. But I am going to have to trust and respect the playwright's and director’s judgements, given the excellence of all that comes before. The performances by Hill and Parker in fact are so perfectly delivered, hopefully it is exactly what the playwright intended – because it is tremendous. It runs through July 9 at Steppenwolf Theatre.

Let’s welcome in summer and enjoy the history of Hubbard Street Dance Chicago at the Harris Theater with a collection of eight dances of varying styles and intriguing music. Pieces old and new, reworked and original amazed one after another including Lucas Crandall’s (Imprint - Duet), William Forsythe’s (reproduction of One Flat Thing), Alejandro Cerrudo’s (One Thousand Pieces - Water Section), Jim Vincent’s (Palladio), Crystal Pite’s (A Picture of You Falling), Twyla Tharp’s (The Golden Section), and Lou Conte’s (Georgia and the 40’s).

This historical glance 40-year glance at the iconic dance company brings forth a walk through time and the growth of Hubbard Dance. Lou Conte’s romantic summer love of ‘Georgia’ was originally premiered in 1987 as part of “Rose from the Blues” and makes you ache for the loss of summer love. Even more history is bestowed upon the crowd with the happiness, creativity of the 40’s, also by Conte. Infusing big band music, 40’s style dance, jitterbug moves and the feeling of the celebrations of old Hollywood, the piece is truly a joy to watch.

“The Golden Section” choreographed by Twyla Tharp/Tharp Project, in its golden velour and unabashed 80’s energy that had originally been performed on Broadway in 1981, brought a liveliness and fun to the stage. The enthusiasm and vibrancy had audience members bobbing their heads and giggling along with the sheer fun of the dancer’s movement and energy.

Something for everyone, Hubbard Street’s Summer Series 39 will truly grab your attention with the loving duet of “Imprint” by Lucas Crandall and romantic “Palladio” by Jim Vincent. Theater goers will fall under the mesmerizing spell of the smokiness and ethereal beauty of ghostlike figures and sounds of water in “One Thousand Pieces” by Alejandro Cerrudo. Children and adults alike will be enthralled with the chaotic energy of “One Flat Thing”, in awe of the dancer’s abilities to move between, over, under and through the flat things with such speed, grace and fluidity.

Beautiful and graceful, “A Picture of You Falling” by Crystal Pite will capture the audiences’ attention from start to finish, leaving you out of breath, and wondering, if this is how it really will be in the end.

Through a night of innumerable feelings and experiences, this historical journey into the past of “Hubbard Street Dance at 40”, was a thrill for all families and fans of dance. So very few places can provide such a complete feeling of history and nostalgia while also inspiring all of us to see what the future will bring.

Hubbard Street’s Summer Series 39 was performed at the Harris Theater for Music and Dance. For more information on this amazing dance company and to see future events, visit www.HubbardStreetDance.com.

Shannon McNally is a singer, song writer and guitar player. Black Irish is her seventh release, if I heard correctly last night at City Winery. There, at City Winery, McNally headlined with Big Sadie playing the first set.

Big Sadie is a Bluegrass quartet from Chicago? Yes, you heard correctly…a Bluegrass quartet from Chicago. A lot of people tend to think this is either a Blues town or cover band town, but there are plenty of hidden gems to be found. You either gotta look or get lucky.

Big Sadie is led by a husband (Collin Moore) and wife (Elise Bergman) team who handle most of the vocals, as well. Bergman plays upright bass and Moore plays guitar. Andy Malloy on banjo and Matt Brown on fiddle complete the quartet.

There were two things I really liked about seeing this group live. Number one were their harmonies. Moore and Bergman have a really sweet blend. Harmonies executed so well make such a difference - getting voices to blend like that. The second thing was they played and sang in front of ONE microphone. I loved it! Very reminiscent of the Grand Old Opry days. They did have the upright going direct but they had everything else going through one mic. With this method, you get your “mix” by your proximity to the microphone. Also, dynamics used by the other players is important. My only criticism of their set up is that the guitar gets buried. The guitar should go direct along with the upright. Moore was playing some hot licks, but they were fighting to be heard.

McNally was accompanied by Brett Hughes on guitars, mandolin and vocals. I see a lot of people playing without drummers lately, which tends to keep a nice volume in clubs sometimes. That way you can just dig into the songs. You can also hear the vocals, a lot of which are lost in the heavy mixes of the bass and drums that dominate a lot of times.

She played a short set, mostly originals. I would honestly have to describe her as seeming uncomfortable. I will admit, I am not familiar with her work at all. She had some nice bluesy moments and I did like her singing and playing. Her songs were good, but easy to forget. In between songs, she just seemed awkward. I understand some people are more creatures of the studio or the writing table and am guessing she’d be in that category. I did really enjoy her last song, a cover of “It Makes No Difference” by The Band.

It’s always a great night at City Winery Chicago. Great food, wine and music. The volume is always adjusted just right in the room, too. You always walk away with happy ears.

From the minute I stepped into Windy City Playhouse’s colorful, elegant the stage area designed by Courtney O’Neill with fantastic lights and sounds by Thomas Dixon, I knew I was in for a treat. 

King Liz is named for the beautiful, sexy and high-powered sports agent Liz Rico played superbly with real gusto and stage presence galore by Lanise Antoine Shelley. 

Liz Rico is a woman who grew up in the projects, overcame great poverty and rose to the top of a male dominated industry. Rico, one of the best sports agents in the business, is about to be promoted to the head of her firm by her retiring boss Mr. Candy (Frank Nall).

Mr. Candy's last offer to her to make her his new head of firm is based on her ability to sign a new and talented high school basketball player Freddie Luna (Eric Gerard). Luna is a true talent likened to Kobe Bryant but comes with a history of violence and temper tantrums as he too has been brought up in the projects and was doing his best to survive as he knew how. 

Eric Gerard is also great in his role, showing how deeply he feels about needing to escape his checkered past and the projects by riding his basketball gifts into the big time. Gerard also plays the role well in that the audience sees and feels great compassion for him as he uses his limited social skills to try and fit into the fast-paced media swirl he is placed in, sometimes causing his own downfall, his sometimes feral temper getting the best of him. Though Luna can often be charming and polite, prying journalists after the next big sports story target his unbridled emotions and get the best of him when digging into his past that he so desperately wants to put behind him.

Gabby (Jackie Alamillo) is Liz Rico’s assistant and though grateful for her highly valued mentorship has been made to "eat crow" so many times, every day at work, by Liz. Gabby is also eager for Liz to get the promotion, if only because she will then fill Rico’s job. Alamillo is perfect as the once meek but now hardened assistant who has given up everything including her own sense of self-worth at times in order to succeed in this male dominated field. 

In the meantime, Knick’s Coach Jones does his best with Luna hoping this new prodigy will cement his long time career. Coach Jones, played with great compassion of soul and accuracy by Phillip Edward Van Lear, really drives the play’s message home and is totally believable in the role of a big league coach who also has been beaten down somewhat by an industry which cares more about profit margins than human lives and protecting the players who make the game possible.  

We learn along the way that "King Liz" had a sexual relationship with the coach in the past when over dinner he states he “would like to make love to her again”, that “she needs affection” and "was making animal sounds" the last time they were together but Liz will only accept his offer if he realizes she wants no commitment involved or even romance. 

Liz, over the course of the show, begins to realize that she has isolated herself from the world of love and relationships for so long that even though she is rich and on all the most important people lists like Forbes Fortune 500, she has also given up her chances to have children and a husband among other things and is faced with the biggest decision of her life to try and salvage her soul and dignity as a human being.

The play is delivered fast and furiously with many exciting twists and turns and light and scene design changes. It reminded me of the film “Draft Day” starring Kevin Costner that shows just how much constant pressure and money is riding on these agents and their young, often inexperienced and naive clients – the promises made and the slugfests that occur between agencies and teams to sign elite talent. We learn how much athlete image control weighs into a successful sports career for those that have a hard time staying out of trouble.

King Liz is also the story of two completely different paths taken from two people, both African Americans, who grew up in the same projects. Ambitious, disciplined and determined, Liz carved a trail for herself to succeed in the business world by obtaining a Yale education and learning the social graces and toughness that positions herself to rise up the corporate ladder. She’s hard-nosed and no-nonsense and does not make excuses. At the same time, Luna, though mega-talented, struggles to mature or find a sense of responsibility. He blows up with little provocation and misses key business appointments to go shopping with his friends. We want so desperately to shake him and say, “Wake up! You have been given a golden opportunity to shine and become an example to others.”

Lanise Antoine Shelly is a powerhouse as Liz Rico and is surrounded by an impressive cast in this fast-paced, knockout punch production. I highly recommend Fernanda Coppel’s King Liz, directed with real style and exciting action and catharsis by Chuck Smith.

King Liz is being performed at Windy City Playhouse. For tickets visit www.WindyCityPlayhouse.com.

Classical Music sounds so much better in person. Music is always better live in my opinion. And hearing magically composed sounds in a hall constructed for the occasion is the icing on the cake. The caliber of the musicians plays a huge part.

Vladimir Spivakov conducted the entire show this past weekend at Orchestra Hall that featured some of Russia’s highly talented musicians working together in a chamber orchestra. A chamber orchestra is a bit different than a symphony orchestra. At times, the music delivered was all strings, violins, violas, cellos and double basses. Some selections had French horn and oboe added.

Spivakov has been a respected musician since the 1960’s. He directed the ensemble with a high level of passion for what he was doing. The dynamics were flat out amazing – something you don’t get with your average Rock band. The softest of piano leads to the loudest of forte, all with a high level of grace.

Another interesting thing about seeing musicians play live is seeing the expression on their faces. Classical Music can on the surface appear stiff. Many might think classical musicians play straight off the page as written. This couldn’t be further from the truth. Yes, the notes are already chosen. Interpretation means a lot. The passion of the performance makes the page come alive. When the players do that, it is amazing.

The performance was divided into two sets. The first was mostly the chamber orchestra. Towards the middle of the set, Danielle Akta joined in on cello. She came out, looking like a kid of fourteen-years-old or so. The emotional intensity knocked the room out. I was watching the four other cellists on stage watching her. Two of them were at least double her age, yet she had their full attention. I can understand why. She took it to another level.

The second set featured Hibla Gerzmava. She is a soprano. It takes a strong voice to fill the hall with a microphone. I know there were mics set up, but I don’t believe they were being used as sound reinforcement. I couldn’t really tell from my vantage point. Having said that, I heard every inflection perfectly. Again, dynamics play a gigantic role in this type of music. It was very theatrical. Hibla at one point was singing to the lead violinist, other times to Spivakov. You can see why a good portion of the great Classical Music out there was written in the Romantic period. It is romantic. Almost, I dare say…erotic. Both Akta and Gerzmava had that quality at times. There was even a bit of humor, too. In a real quiet part of one of the songs sung by Hibla, someone dropped a bottle or something. Everyone heard it, but she kept a straight face. After the piece, she was all smiles.

I was impressed by the Moscow Virtuosi Chamber Orchestra overall. I loved the vibe of the pieces played. There was a playful interaction between performers that truly resonates.

I have heard a lot of amateur chamber orchestras. Violins are very unforgiving in regard to the intonation of the instrument. What a treat it was to hear this group of in-tune stringed instruments. I have also been trying to hear music and not just listen to it. The idea is to listen without analysis, just hear the music. Musicians know this struggle. Sometimes it is easy to forget the joy that art like this brings to our lives. Anyone can be a critic. I would rather be a lover of the arts. From Russia With Love? Yes, I saw that completely.

A small theatre resides on the most unlikely of streets in Chicago. Just steps from the Howard Red Line stop sits the Factory theatre, with only fifty seats in its small storefront property, this little powerhouse has produced original work for nearly 25 years. Adding to its catalog of work is The Night Season by Rebecca Lenkiewwicz and currently performed by the cast of the Strawdog Theatre Company.

When the tiny, seaside hometown of W.B. Yeats gets occupied by an English film crew making his biopic, the Kennedy's figure giving lodging to the lead actor will put a few extra coins in their pockets. They do get plenty of change, and not just Euros, as the family's three sisters and their delusional grandmother all decide it's time to stop letting life pass them by. The mother who ran away, the father who can barely leave the house, a big pile of pent-up desire, it all gets confronted in this skewed romantic comedy.

At times, The Night Season relies too heavily on stereotypes; the drunk Irish father, the senile old grandmother, the romance between a sister and the visiting actor. But one can overlook these unoriginal plot points for witty one liners expertly delivered by the superb cast of Strawdog. Two performers in particular carried the show and commanded attention whenever they were on stage, particularly together. The grandmother, Lily, played by Janice O’Neill, and the middle daughter Rose, played by Michaela Petro. These two characters epitomized the central theme of the play, that they cannot let life pass them by. Both literally and figuratively embrace the English actor played by John Eastman and it becomes clear that Lily and Rose are mirror images of one another, separated by generations but seeing themselves in each other. Both share the same blunt, crass, forceful passion for life and love, and it is through the actor that they discover their similarities and deep understandings of what each woman wants and needs in their lives. Were the play to focus solely on these two characters it would have made for an even better theatre experience.

Overall, The Night Season is funny, honest, and holds its own amidst the incredible theatre in Chicago. The cast of Strawdog Theatre Company is well worth the CTA ride to Roger’s Park to see their plays at Factory Theater. Before Spring leads to Summer, see The Night Season this season. The Night Season runs through June 24th at Factory Theater. Tickets and more can be found at www.thefactorytheater.com.

The storyline in Relativity is a supposed to be a mystery. The great physicist and mathematical theoretician Albert Einstein fathered a daughter, Liserl, out of wedlock in Switzerland with Mileva Marić– but all mentions of her disappear after the age of two.

What happened to her? Several theories have been put forward – that she died of scarlet fever, that she was put up for adoption - but the historical track was largely obliterated with the destruction of many records during World War II. Though Einstein later married Marić, his daughter disappears from the historical record after 1904.

Mark St. Germaine’s Relativity poses one possibility on her whereabouts , and Einstein is confronted with it many years later, by a mysterious visitor to his quarters in Princeton. Margaret Harding (Katherine Keberlein), a journalist who has come to profile him for the Jewish Daily News – and to challenge him on his neglect of his daughter.

Suffice it to say we witness a fair amount of unresolved anger in the encounter, during which Einstein also learns he has a grandchild – also a genius - who is seeking his support in entering a top university. This colorful and intriguing tale is enticement enough to see Relativity. But an added bonus is the fact that the lead is played by the oldest working union actor in the U.S. – the indomitable Mike Nussbaum. Known for his skillful and intelligent delivery including some of David Mamet’s most challenging dramas, Nussbaum at 93 makes a striking appearance. That he can do it at all may be surprising, but Nussbaum delivers a textured and nuanced characterization of the great physicist. He is bring his all to the role, though he doesn’t project at the same intensity as in days of yore – or maybe it’s my hearing going.

The script is okay, with its once over lightly descriptions of Einstein’s unprecedented theorems, and the family angst grows tiresome pretty quickly. There is also a lot of exposition in which the reporter recounts famous quotes and anecdotes from Einstein, who fills in with one liners that elicit some laughs.

Ann Whitney plays a crotchety housekeeper and secretary, the real-life Helen Dukas, and her chemistry with Nussbaum is delightful. Their scenes provide insight into the suffering of an aging genius who is unlikely to discover new universal theories. Nussbaum brings an unusual gift to this aspect of the role, and a hunt for a piece of chalk to write a formula on a blackboard captures the essence of the matter, opening a window into the unsettling existential void.

As always Northlight delivers high production values (Jack Magaw on scenic design; JR Lederle on lighting; Stephen Mazurek fir Projection Design) and director BJ Jones does an excellent job orchestrating the production. Relativity runs through June 25 at Northlight Theatre in Skokie.

The 90s really must be back because this is the second show about Tonya Harding and Nancy Karigan to debut in Chicago in the past year. American Theater Company's telling is a new play called "T" by Dan Aibel. "T" is a ninety-minute retelling of the infamous 1994 incident from the perspective of Tonya Harding's family. Margot Bordelon returned to Chicago to direct the conclusion of Will Davis' first as artistic director of American Theater Company.

"T" steers clear of camp and tabloid. What this play is essentially about is how much T, or Tonya Harding was worth to the people around her. In quick-moving scenes, Dan Aibel calculates all the ways in which Tonya Harding's husband Jeff Gillooly could profit from endorsements. In other scenes, we see her only female companion is her coach who's desperate for a win.

There is something a little strange about "T"­--a slightly lyrical tempo to the dialogue. Sentences read like work emails, missing regular parts of speech. It's an interesting choice, but it often puts uncharacteristically poetic words into otherwise simple people's mouths. It takes for granted that most of us are probably too familiar with the particulars of this crime, and therefore breezes through events without much context. There's a lot to cover in this story and while it's brief, it sufficiently wraps up in a single act.

Leah Raidt plays Tonya Harding with fierce intensity. The look is perfect. There's a duality in her interpretation that strongly resembles the real Tonya Harding without resorting to impression. She's endearingly naive but also bullish and brash. Her coach, Joanne is played by Kelli Simpkins. Her performance is like a cross of Tilda Swinton and Jodi Foster. Her scenes are the most captivating. Her character, however flawed, proves to be the moral backbone of the play.

It makes you wonder what the relevance of the Tonya Harding/Nancy Kerrigan feud is to today. Aibel tries to connect it to the beginning of the digital age, and maybe he's right. It was the last time in history that shlock news didn't go "viral." This story held a nation's attention at the speed of nightly news. Like the OJ Simpson trial, this time will always hold a special place in a certain generation's heart.

At American Theater Company through June 25th. 1909 W Byron St. 60613

With an all Latino/Latina cast, Marisela Treviño Orta's 2014 one-act is brought to life with magic and wonder. The River Bride, set in a South American village along the murky and mysterious Amazon River is a romantic and touching production, which, thanks to director Rinska Carrasco-Prestinary and ingenious props created by Ellie Terrell, seems to have created a real river out of clever lighting, projection screens on the walls and a fourth wall-breaking set consisting of various docks and land areas with the audience seated so close. I could almost feel the water sweeping beneath my feet. 

In this tiny Brazilian village, we meet two sisters, Helena (Flavia Pallozi) and Belmira (Sofia Tew) who are preparing for the marriage of the younger sister Belmira to the older sister's childhood ex-boyfriend Duarte (Johnathan Nieves), which is a sad situation for the older sister.

But three days before the June wedding, Moises (Nico Fernandez U/S), a sensitive and mysteriously handsome stranger, is rescued from the river by Duarte and the girls’ kindly father, Sr. Costa, played with great love and gusto by Johnny Garcia. Once Moises is brought to the Costa’s home, life as the happy family knew begins to change as the young visitor has his eyes set on Helena.

Home to the Costa’s, their village is peaceful, charming and quite beautiful. It is the home of many fisherman, of which Sr. Costa and Duarte make their living. It is a simple place – a place where stories are shared. In this village, nested along the Amazon, an ancient myth is passed down from generation to generation regarding magical dolphins who are destined to find human love and become human in the process that are given the chance for three days each June to do the impossible! First these mermen must locate their true love, their destined human soulmate whom they will know instantly ONLY because "the very first sight of her looking into their eyes makes them feel true love in a place in their heart which has no words".  Secondly, they must convince the soulmate to marry them and third, they must place the magic wedding ring on the woman's finger by the side of the river in an act of secret marriage before sunset on the third day!

But the play is about more than such a grim fairy tale passed down, which dooms each merman to eternal and unbearable loneliness if they do not successfully seek out, find and grab hold of their own personal golden fleece, so to speak.

The play is about the complicated dynamic between sisters and the ability or inability to act for the sake of their own well-being. It's about the human in the fairy tale come true who is suddenly without notice faced with a magical, perfect love and her ingrained inability to recognize and seize the moment for herself. It’s also about the closeness of family.

I love the saucy, honeymooning chemistry between Sra. Costa and Sr. Costa, the sisters fun loving parents wonderfully played by Ana Maria Alvarez and Johnny Garcia. It should be noted that Nico Fernandez, Moises the stranger from the river, was understudying the role and had to step in with only 45-minutes notice before opening night! Fernandez, thrust into the role, did a great job creating chemistry with the two both Pollozi and Tew. The entire cast is delightful and believably creates the kind of welcoming nature one would hope to find in a close family from a quaint river village.

Along with its fine cast, there are a handful of twists and turns in this adoringly, capturing story that surprise and keep us guessing.

I really can't say enough of the cleverness of this stage design and lighting effects, which shows lightning bolts and rain on the walls and turns what once was the top floor of a Chicago church into a convincing and romantically, sensual experience of real life on the Amazon river.

I highly recommend this thought provoking, stunningly raw and romantic play which has been lovingly and lushly produced to theatergoers of all ages that wish to be transported to a magical land where fairy tales can come true, for better or worse. 

Halcyon Theatre’s The River Bride is being performed at Christ Lutheran Church, 3255 W. Wilson Ave in Chicago through June 18th. Tickets are just $20 and can be purchased at https://halcyontheatre.org/.

Warning - Do not proceed if you have not yet seen the play - Spoiler alert!

This isn't a total spoiler but it's such a great choice by the authoress, Marisela Treviño Orta', which is so brilliant and deepens the messages in this deeply affecting one act so much that I need to acknowledge this plot twist in this review. 

Although never directly stated in the play, only implied, it turns out that the blissful, everlastingly youthful and passionate love of Sra. and Sr. Costa is most likely the actual result of a successful transformation of a “dolphin king” and his true love, 

What is made clear is that Sr. Costa was also a man who appeared mysteriously by the river, on a busy fishing dock one day in a new town and wooed and married their happy mother within exactly three days in the month of June so many years before. This is crucial to me because it not only shows how the Brazilian people's modern lives are enriched by their own mythology but implies that the authoress feels some magic and mystery may still be left in the world at least where true love is concerned.

Another reason why I loved the implication is that the two sisters are the result of a magical wedding that led to a life of true love and sweet contentment, because when the sisters each make their choice - no spoiler here - the audience is made to envision and feel clearly the heavy, very real consequences of the wrong choice. 

The disbeliever or doubtful lover who makes the wrong choice results in just the opposite, a truly disastrous result – “Disastrous” from the Greek meaning "being torn from the perfect orbits of one's own fate or stars", a never ending lifetime of sadness, loneliness and discontent, perhaps a fate worse than death to people who love and treasure marriage and  their family life so much.