“GL 2010 (Not Your Generic Latina)” ??1/2
Apparently there aren’t many Latinas in Sweden, so naturally the Swedes turn to the movies for a reference point. And if you happen to be Puerto Rican and take a teaching gig somewhere in Scandinavia, it’s quite likely your colleagues will assume you’re just like a character straight out of “West Side Story.”
That was the case for Liza Ann Acosta, who penned the monologue about her experience (performed ably by actress Jessie Perez) in Teatro Luna’s latest collection of autobiographical vignettes.
Acosta’s story, as well as the honest emotions and humor captured by Lauren Villegas — who legally changed her last name to separate herself from her serial cheater, non-Latino father — are the two strongest elements of a show that makes for pleasant viewing but ultimately feels like a step back for the company, which has gone through recent upheavals with the resignation of its two founders.
These things happen, and happily there are some new names in place — both onstage and off. A certain amount of retracing of their steps might be an artistic necessity for the current members. Let’s hope, going forward, they can tap a deeper creative well and generate a stronger individual stamp and sensibility.
After all, Teatro Luna built its reputation on a pop theater aesthetic, creating shows that offered a confessional, citified point of view not unlike an episode of “Sex and the City” in its prime. But as it stands, the acting quality needs to be kicked up a notch (Miranda Gonzalez is the director), and if Teatro Luna is serious about appealing to as many theatergoers as possible, the company needs to find an artful way of cluing non-Spanish speakers in on the joke when the occasional punch line isn’t in English. It wouldn’t hurt if they chucked the rambling pre-show speech, either.
Through July 11 at Chicago Dramatists, 1105 W. Chicago Ave.; $15-$20 at teatroluna.org
“40 Whacks” ??
Despite the presence of two truly great songs from Annoyance musical director Lisa McQueen, you can’t really call this Lizzie Borden satire a show just yet.
Charged with the 1892 ax murders of her father and stepmother (and eventually acquitted), the Lizzie we see onstage has the petulant intensity of a 13-year-old, and actress Ellen Stoneking plays the old gal with a deranged zeal that is pretty terrific.
But the piece lacks comedic vision or focus. It’s not clear what author Aggie Hewitt is going for — the Lizzie-as-nutcase gag runs out of steam pretty quickly — but any comedy that includes a hilarious Sondheim-esque number about the floor plan of the Borden house (and why this turns Lizzie into a ticking time bomb) deserves some attention.
And when Jennifer Estlin (fully committed as Lizzie’s put-upon stepmother) breaks out in a Carole King-inspired ballad (with confetti!), it nearly brings down the house. Now all Hewitt and director Irene Marquette need to do is build an actual show around these two gems.
Through Aug. 6 at the Annoyance Theater, 4830 N. Broadway; $15 at 773-561-4665 or theannoyance.com
