SEARCHING FOR AZTLÁN
Written & Directed by Lakin Valdez
A Journey to the Past and Present of Chicano Pride
Milagro’s national touring production
January 8 – 17, 2015
A biting and satirical journey, Searching for Aztlán takes the audience on a metaphorical yellow brick road of discovery about what it means to be Chicano in contemporary society.
«Searching for Aztlán,» a new play at the Milagro Theatre, may be a short one, but it’s crammed with ideas, laced with satirical humor and designed for adults and young people alike to enjoy and learn from.
The play — which will tour schools in the Northwest after its run in Portland — was written and directed by Lakin Valdez, the son of Luis Valdez, who formed the acclaimedEl Teatro Campesino. The theater piece is rooted in the 50-year-old Chicano movement, and takes us on a metaphorical journey, with faint yet clever references to Dorothy’s journey in «The Wizard of Oz.»
(The concept of Aztlán is central to the Chicano movement and inspired their idea of a new nation). As her journey begins, she picks up other travelers who are dispossessed exiles, one a traitor in their midst. But solidarity wins the day, despite an up-to-no-good witch, or bruja (Ana Silva as a corporate villainess with cell phone, pants suit, and a poofy blond wig), who tries to suppress the group. Is Aztlán a state of mind, a place in the heart, perhaps, one that will strengthen these folks of indigenous heritage to find their past and strengthen their future? That seems to be Valdez’ idea, and it’s strong, although some of the play feels shallow when it might run deeper. Still, the politics come across vibrantly in the tradition of El Teatro Campesino (the cultural arm of the United Farm Workers co-founded by Cesar Chavez and Dolores Huerta).
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Highlights: As the four actors do a little «yellow brick road» dance while traveling together, we hear «Wizard of Oz» music combined with heavy drums and guitars, James Brown style. It’s a perfect blend of music and rhythms, a bit of anger, a bit of mocking sweetness. The music really sharpens the hourlong show, helping bring it into focus.
Low notes: Silva was very funny in a variety of parts, including HighSpanic, a young Chicana immersed in mainstream American culture who can barely speak Spanish. But a shrillness in all her roles marred the production, including her screechy witch’s cackle. Better to keep those high notes to a minimum.
Ajai Terrazas Tripathi Most valuable performer: Ajai Terrazas Tripathi, an Oregon State University theater graduate, brings a wonderful sense of humor and strong characterization to the show. The only male in the piece, he deftly sketches a variety of parts, but is strong, funny and compelling as a 1970s militant who’s been searching for Aztlán for some 30 years, and going around in circles. He’s all bark and no bite, carrying a toy machine gun, we discover, and playing with dolls and stuffed animals as members of his «army.» «Sometimes I’m even scared of myself,» he confesses.
Line of the night: «The Aztlán you seek is a place of evolving consciousness.»
Best moment: When an Aztec backdrop is unveiled, indicating Aztlán as a visual idea. The painting by scenic artist Sivonna West is compelling, if a little too muted in color.
Biggest surprise: When one of Silva’s characters (employed by the witch) dons the sun god headdress and tries to cow the others, then quits to join them. Well, not too surprising.
Take-away: The fight for truth, justice and the «indigenous way» has always been at the heart of Chicano causes, and Valdez helps us discover what it means to be a Chicano in contemporary society, while letting us chuckle at satires on stereotypes. He mentions in the program notes that the inclusion of Mexican-American studies, those that were banned in 2012, had a decided correlation to increased Latino student achievement. Now dealing with the 21st century’s conservative agenda, he’s facing some of the same issues his father’s generation did, and the satirical, political essence of El Teatro Campesino is as vital today as in the ’70s.
Searching for Aztlán at the Milagro Theatre, Central Eastside Industrial District
“The Stuff that Dreams are Made on…”
Dennis Sparks Reviews – 1/11/15
The search for the elusive Shangra-La, Camelot, Narnia, Oz, Brigadoon, Neverland, et. al. or, in short, a Garden of Eden, is a universal one. A magical land where everyone is happy and dreams really do come true. A place where you are free to live the life you choose.
But, into every Paradise created, there is always a Snake in the grass…a Wicked Witch controlling the winds…a Big, Bad Wolf ready to pounce. Just when we’ve eased on down that yellow, brick road to those Golden Gates, Reality raises its ugly head. But, according to a theme of the play, in order to change that Reality, you have to change yourself, and create a new Reality.
The echoing of The Wizard of Oz in this play is deliberate. It traces the journey of Dolores (Alida Holguín Gunn), a history teacher of Mexican-American Studies in Tuscon, Arizona, circa 2012. It seems that the powers-that-be want to reduce the Mexican contribution to American History to a mere cipher. Dolores is not pleased with this outcome but, before she can protest too much, a dust storm arrives and whisks her off to possibly a mythical land call Aztlán.
But, according to some characters she meets along the way, a Dreamer (Angeles Perez Peña), seeking a better world; a Revolutionary (Ajai Terrazas Tripath), wanting to overthrow the old world; and a HighSpanic (Ana Silva), guarding the heartland from intruders, this place is controlled by a Witch, who governs with an iron fist…either her way or the highway.
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This production is without a doubt, though-provoking, and will hopefully spurn discussions throughout its own journey. And yet, it does have a mischievous lilt, a contagious energy, and a bold enthusiasm that propel it forward to be equally entertaining as well. It is said the “pen is mightier than the sword” and this is a good example of that. The creator, Valdez, has succeeded in marrying the head and the heart into a digestible food for thought.
The backdrop by Scenic Designer, Sivonna West, is quite impressive and is a work of art in its own right. And the cast is truly amazing! Essentially three actors played almost all the supporting characters and in rapid succession, too. I admire and applaud their efforts, for it is truly a unique ensemble! And Gunn does a nice job of holding the plot together. But, to me, Silva stands out in this wonderful cast, with her well-defined and clear definition of the roles she plays. She obviously has something extra special to offer the production.
It should be noted that the play is presented in Spanish and English. Although they do a good job of presenting the material so that you really don’t lose track of the story, even if you don’t understand both languages, there were occasional lines in Spanish that were getting laughs from the audience and I felt I might be missing something important. It just goes to show you that being bi-lingual is definitely an asset.
I recommend this show. If you do choose to see it, please tell them Dennis sent you.
This is an original work, written and directed by Lakin Valdez, and will be playing at their space at 525 SE Stark St. through January 17th (then it will go on tour). For more information, go to their site at www.milagro.org or call 503-236-7253.
Milagro Touring and Arts Education
